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AKT  TOPICS 


IX  THE  HISTORY  OF 


Sculpture,  Painting  and  Architecture, 

WITH  SPECIFIC  REFERENCES  TO  MUST  OF  THE 
ENGLISH  STANDARD  WORKS  ON  ART. 


CHARLES    S.  FARRAR,  A.   M. 


4-c»urtlt  ©Mtion,  lilewlseb  a»t&  ©ttlttrflch^ 


CHICAGO: 

Chas.  S.  Farrar  &  Co., 

2  1    (JriNCY    SlRKKT. 

1  Sq6 


14734f; 


COPVkIGHT    hv 

CHARLES   S    FARRAR. 
1881,   iSqd. 


5300 
PREFACE. 


The  following  scheme  for  a  branch  of  historical  study  grew  out 
of  the  actual  experience  of  guiding  large  classes  of  students  in  the 
history  of  art. 

It  is  believed  that  the  best  text-book  for  the  study  of  any  history 
is  but  a  syllabus;  the  study  of  history,  as  well  as  of  science,  in 
order  to  result  in  solid  edification,  must  involve  the  characteristics  of 
real  investigation,  compelling  the  use  of  the  judgment  at  every  step. 
Especially  is  this  true,  at  present,  in  the  History  of  Art,  where  good 
sources  of  information  and  criticism  are  so  various  and  even  contra- 
dictory. 

The  second  edition  of  the  work  having  become  exhausted,  it  was 
deemed  best  to  carefully  revise  the  whole,  in  view  of  the  many  excel- 
lent treatises,  especially  on  the  history  of  Sculpture,  which  have 
come  out  since  the  earlier  editions  were  issued,  and  also  in  view  of  the 
growth  of  popular  interest  in  the  history  of  art  generally.  It  is 
remarkable  that  in  this  new  wave  of  interest,  reading  is  so  generally 
developing  into  study — that  any  one  book  leads  with  such  influence 
to  the  library.  Such  has  always  been  the  case  with  the  scholarly  few, 
but  seldom  has  the  reading  multitude  so  generally  been  moved  by  the 
spirit  of  original  inquiry. 


The  part  on  Sculpture  has  been  entirely  rewritten  and  the  other 
parts  much  more  completely  considered,  and,  it  is  hoped,  with  decided 
improvement. 

The  topics  having  thus  been  increased  in  number  and  in  detail 
on  every  important  subject,  and  references  carefully  made  to  author- 
ities down  to  date,  embracing  purposely  elementary  works  as  well  as 
the  more  exhaustive  in  history  and  criticism,  the  volume  is  nearly 
double  that  of  the  second  edition. 

For  valuable  suggestions  I  am  indebted  to  many;  but  most  of 
all  to  Dr.  K.  A.  Linderfelt,  the  librarian  of  the  Public  Library  of 
the  city  of  Milwaukee.  His  wide  knowledge  in  the  world  of  books 
and  his  helpful  criticism  have  aided  much  in  the  work,  especially  in 
the  preparation  of  the  catalogue  of  reference  books,  furnished  in  the 
appendix. 

Chicago,  Dec,  1890.  C.  S.  F. 


CONTENTS. 


PART  I.— HISTORY  OF  SCULPTURE. 

Pafft. 

I.     Introductory I 

II.     Egyptian  sculpture — Memphitic   period 2 

III.  Egyptian  sculpture — Thcban  period 4 

IV.  Greek  sculpture — Prehistoric   period 5 

V.     Greek  sculpture — Early  Archaic  period 7 

VI.     Greek  sculpture — Advanced  Archaic  period 8 

VII.     Perfected  Greek  sculpture — The  Pheidian  period 12 

VIII.  Perfected  Greek  sculpture — Scholars  and  contemporaries  of  Pheidias....  16 

IX.  Greek  sculpture — the  period  of  Scopas  and  Praxiteles,  the  Attic  School,.  19 

X.  Greek  sculpture — the  Period  of  Scopas  and  Praxiteles,  the  Peloponne- 

sian  school 23 

XI.  Greek  sculpture — the  Hellenistic  period 24 

XII.     Sculpture  among  the  Romans — the  Graeco  Roman  period 29 

XIII.  The  development  of  Christian  sculpture,  culminating  in  the  Pisan  school 

of  the  thirteenth  and  fourteenth  centuries 33 

XIV.  The  Florentine  school  of  sculpture  of  the  fifteenth  century 39 

XV.     Sculpture  of  the  fifteenth  century  in  upper  Italy 44 

XVI.     Sculpture  of  the  sixteenth  century 45 

XVII.     Sculpture   in  Italy  between  1600-1850  —  The  Perioils  of  the  Decay  and 

of  the  Third  Revival 50 

PART  II.— HISTORY  OF  PAINTING. 

I.     Painting  in  Egypt  and  Asia 53 

II.     Ancient  Painting  in  Europe 55 

III.  Early  Christian  Painting — Transition  from  Symbolism  to  Pine  Art 58 

IV.  Italian  Painting  from  1200  to  1340  A.  D. — Cimabue  and  Giotto 60 

V.     The  Decline  of  Mysticism  and  tlie  Rise  of  Realism — Masaccio 63 

VI.     The  Second  Generation  of  Classic  Realists 67 

VII.     Leonardo  Da  Vinci — the  Universal  Cienius 73 


VI  CONTENTS. 

Page. 

VIII.     Michael  Angelo  as  a  Painter 75 

IX.     Raphael  Sanzio,  the  Common  Culmination  of  Spiritual  Elevation  and 

Natural  Beauty 7^ 

X.     Correggio,  the  Greatest  Master  of  Chiaroscuro 83 

XI.     The  Great  Venetian  Colorists  and  Modern  Realists 86 

XII.     The  Last  Revival  of    Painting  in  Italy — the  Eclectic  and  Naturalistic 

Schools 91 

XIII.  Painting  in  Flanders — the  Early  Period 95 

XIV,  Painting  in  Flanders — the  Later  Pcr.od 98 

XV.     Painting  in  the  Netherlands — Representation  of  Actual  Life 103 

XVI.     Early  Painting  in  Germany 107 

XVII.     Later  Painting  in  Germany 112 

XVIII,     The  Great  Painters  in  Spain 113 

XIX.     Tlie  Leading  Masters  of  the  French  School — the  Early  Period  118 

XX.     The  Leading  Masters  of  the  French  School — the  Later  Period  122 

XXI.     The  Principal  Masters  in  England 128 

XXII.     The  Modern  English  School  of  Painting 139 

XXIII.  Chronological  Perspective  of  Early  Painters — five  Centuries 142 

XXIV.  Chronological  Perspective  of  Later  Painters — three  Centuries    143 

PART  III.— HISTORY  OF  ARCHITECTURE. 

1.     Technical  Terms 144 

II.     Egyptian  Architecture 14S 

III.  Asiatic  Architecture 152 

IV,  Architecture  of  Ancient  Greece 156 

V.     Architecture  of  Ancient  Rome 162 

VI.     Early  Christian,  Byzantine  and  Romanesque  Styles  of  Architecture 166 

VII.     Saracenic  Architecture 172 

VIII.     Gothic  or  Pointed  Architecture 175 

IX.     Renaissance  and  Modern  Styles  of  Architecture 181 

Appendix — Catalogue  of  Books  of  Reference 187 


PART  FIRST. 


History  of  Sculpture. 


I.— INTRODUCTORYe 

1.  The  division  of  the  arts;  nature  and  characteris- 
tics of  sculpture;  definitions  of  the  various  terms  used  in 
treating  of  sculpture  —  statuary,  glyptics,  sculpture  in 
'the  round,'  relief,  etc.;  the  technical  varieties  of  reliefs 
and  intaglios. 

KtsKiN,  Aratra    I'entelici,  Lecture  1-4 ;  Rkdford,    Ancient    Sculpture,    pp.     i, 

pp.  149-5'-  8  10,  27-9. 

Moi.l.i.T  r.   Dictionary  of  Art  and   Arch-  Wkstmacc^ti',  Scliools  of  Sculpture,  pp. 

a-ology.  13,  17-24. 

Fairhoi.T,  Dictionary  of  Terms  in   Art.  (See    also    Worcester's,     Webster's    and 

Br.vndk,    Diet,    of   Science    (see   above  otlier    dictionaries    lor    definitions    oi 

terms).  terms.) 

2.  Different    materials  employed  in  sculpture,  and 
their  respective  merits  ;    the  various  technical  methods  of 
the   sculptor,   and  the  successive  stages  in  the  develop 
ment  of  a  statue. 


a  HISTORY  OF  SCULPTURE. 

RirsKiN,  Aratra  Pentelici,  Lecture  $.  Winckelmann,  Hist.  Anc.  Art,  Vol.  i. 

Westmacott,  Schools  oi  Sculpture,  pp.  pp.  143-52,  Vol.  2,  pp.  51-9,  71-6. 

3-17.  K.NIGHT,  Pict.  Gal.  of  Arts,  Vol.  2,  Text, 

Redforo,  Ancient  Sculpture,  pp.  2  26,  pp.  275,  279,283,28690. 

62-3.  Enc.  Brit.  (9th  ed.),  Vol.  21,  pp.  571-2  ; 

Waldstein,  Essays  on  the  Art  of  Phei-  Vol.  16,  p.  72. 

dias,  pp.  282-8. 

3.  Limitations,  as  to  subject  and  to  manner  of 
representation,  in  sculpture;  polychromy,  or  coloring-  of 
statues. 

Luebke,  Hist,  of  Sculp.,  Vol.  i,  pp.  5-6.       Westmacott,  Schools  of  Sculpture,  pp. 

149-74. 

4.  Origin  of  art  among  primitive  peoples  ;  influence 
of  religion  upon  its  development. 

LlEBKE,  Hist.  Art,  Vol.  I,  pp.  I-13.  Rlskin,  Aratra  Pentelici,  Lecture  2. 

Jarvks,   Art   Idea,   pp.   49,    22-7;    Art  Eini.iTZ,   Nature   and  Function     of  Art, 

Thoughts,  pp.  15-18;    Art  Studies,  pp.  pp.  121   40. 

53   73.  WlNCKKLMANN,    Hist.    .\nc.    Art,  Vol.  I. 

Westmacott,  Schools  of  Sculpture,  pp.  pp.  133-42. 

25-33.  Flaxma.n,  Lect.   on  Sculp.,  pp.  215- 17. 


II —EGYPTIAN  SCULPTURE ;  MEMPHITIC  PERIOD. 

I.  Antiquity  of  civilization  and  art  in  Egypt ;  pecu- 
liar natural  features  of  the  country,  and  despotic  form  of 
government ;  their  influence  upon  the  development  of 
sculpture. 


HISTORY  OF  SCULPTURE.  3 

Perrot  &  Chipif:z,   Hist.    Anc.   Egypt.  Reber,  Hist.  Anc.  Art,  pp.  1-4. 

Alt.,  Vol.  I,  pp.  1-69.  Wilkinson,  Hist.  Anc.  Egyptians,  Vol. 

MncHEl-i.,  Hist.  Anc.  Sculp.,  pp.  i-S.  i,  pp.  167-72. 

LfEiiKE,  Hist.  Sculp.,  Vol.  I,  pp.  20  I  ;  Woi.tmann    and   Woermann,    Hist,    of 

Hist.  Art,  Vol.  i,  pp.  17-21.  Painting,  Vol.  i,  pp.  4-6. 

2.  The  secular  character  of  the  earhest  Egyptian 
sculpture  as  seen  in  the  tombs  about  Memphis  ;  belief  in 
the  Ra  ;  the  Ra  statue  (a)  ;  reliefs  upon  the  walls  of  the 
tombs  of  Ti  and  Hosi  at  Sakkarah  (b). 

Perrot  &  Chipikz,   Hist.   Anc.   Egypt.  Mitchei.i.,   Hist.  Anc.  Sculp.,  pp.  9-14, 

Art,  Vol.  I,   pp.    128-34;    Vol.   2,  pp.  21   2  (a),  30  2  (b). 

180-4  (a);  Vol.  I,  pp.    143-54;  Vol.  2,  LiK.r.KE,   Hist.    Sculp.,  Vol.   i,  pp.  21-4 

pp.  189-90,  193,  195,  214-8  {!>).  Van  Dyke,  Principles  of  Art,  Chap.  i. 

3.  Portrait  statues  of  the  Memphitic  period  :  their 
characteristics  as  compared  with  those  of  later  times  ; 
the  statues  of  Ra-hotep  and  Nefert,  king  Chephren,  Sheik- 
el-Beled,  the  seated  scribe,  etc.,  the  head  of  Nem-hotep. 

Perrot  &  Chipiez,   Hist.   Anc.    Egypt.        Mitchei.i.,    Hist.   Anc.   Sculp.,   pp.    17, 
.\rt.  Vol.   I,  p.  90;  Vol.  2,  pp.    187-8,  22  9. 

192-214,221-5.  I,ri:i!KK,  Hist.   Sculp.,   Vol.  i,  pj).  23-4. 

4.  Artistic  representations  of  the  gods  during  this 
period  :  relief  of  the  god  Thoth  at  Sinai,  and  the  great 
sphinx  at  Gizeh  (a)  ;  the  religious  belief  of  the  Egyp- 
tians (b). 

Pi:RROT  &  Ci;iPiEZ,  Hist.  Anc.  Egypt.  Mitchei.i.,  Hist.  Anc.  Sculp.,  pp.  32  3 

Art,  Vol.   I.   pp.  66,  238,    323  33    (a);  (a),  14  17  (a,  b). — Century  Mag.,  Vol. 

44  70  (1)).  23,  p)).  396-7. 

V/ir.KlNsoN,   Hist.   Anc.  Egyptians,  \'<)1.  Lieiikk,    Hist.    Sculji.,  Vol.  i,  ji.  24(a). 

2,  pp.  454  5^5  (b).  Rkukori),  .\nc.  Scull).,  ]>p.  93  4  (a). 


4  HISTORY  OV  SCULPTURE. 

III.— EGYPTIAN  SCULPTURE ;  THEBAN  PERIOD. 

1.  The  tomb  sculptures  of  Abydos,  Beni-Hassan 
and  Sioot  ;  introduction  of  colossal  proportions  in  the  Ra 
statues  ;  the  shahti  statuettes. 

rERRor*&  Chumkz,  Hist.   Anc.    Egypt.        Mitciikll,  Hist.  Anc.  Sculp.,  pp.  35-c. 
Art,  Vol.    I,  pp.   241-54;  Vol.   2,  pp.  — Century  Mag.,  Vol.  23,  pp.  395-6. 

226-3S. 

2.  Causes  producing  the  great  development  of 
architecture  and  sculpture  during  the  new  empire  ;  relief 
representations  of  the  gods,  and  of  the  souls  of  the  de- 
parted, as  seen  in  the  Theban  tombs. 

Pr.KKor   &  CllliMKZ,   Hist.   Anc.   Egypt.        Mitciiki.i.,  Hist.  Anc.  Sculp.,  pp.  43-6. 
Art,  Vol.   I,   pp.   255-66;    Vol.  2,  pp.  — Century  Mag.,  Vol.  23,  pp.  398-401. 

239-40,  246-54. 

3.  The  temples  dedicated  to  the  Pharaohs  ;  charac- 
ter of  their  sculptures  ;  the  Ramesseion,  its- historic  reliefs 
and  colossal  statues  of  the  monarch  (a)  ;  the  Memnon 
Colossi;  temple  at  Ipsamboul  and  the  Rameses Colossi  (b). 

Pkrrot  &  Chipikz,  Hist.    Anc.   Egypt.        Mitciiki.i,,   Hist.   Anc.  Sculp.,  pp.  46  8 
Art,   Vol.   I,   pp.    266-76,    375-84   (a),  (a),  51  3  (1)). 

4107;  Vol.  2,  pp.  240-1  (h).  I,ri-.nKK,   Hist.   Sculp.,   \'ol.    i,  pp.  26-9 

(a),  30  I  (1'). 

4.  The  temples  dedicated  to  the  gods  :  Karnak  and 
Luxor  ;    subjects  of  the  wall  reliefs  ;    statues  of  the  gods 


HISTOKV  OF  SCULPTURE.  5 

and    of  Thothmes   III ;    the    avenues    of  sphinxes    (a) ; 
statue  of  Rameses  II  in  the  Turin  museum  (b). 

Perrot  &  Chipiez,  Hist.  Anc.   Egypt.  Mitchell,  Hist.  Anc.  Sculp.,  pp.  48-51 

Art,  Vol.   I,  pp.   235-75;    Vol.   2,  pp.  (a),  52-5  (PI.  i)  (a,  b). — Century  Mag., 

241-54  (a),  256-9  (b).  Vol.  23,  pp.  390-1. 

LUEBKE,  Hist.  Sculp.,  Vol.    I,    pp.   29-  Redford,  Anc.  Sculp.,   pp.    96-7  (a.  h). 

30  (a).  Lepsu's,  Egypt,  pp.  247-50  (a*),  253-4  (a). 


IV.— GREEK  SCULPTURE ;  PREHISTORIC  PERIOD. 

I.     Greece:     general  aspect    of    the    country    (a); 
character,  origin  and  rehgion  of  the  people  (b)  ;  conditions 

favorable   to   originality   in  art  development  among  the 
early  Greeks  (c). 

Mitchell,  Hist.  Anc.  Sculji.,  pp.   137-  Perry,   Greek   and  Roman    Sculp.,   pp. 

40  (b,  c).  4   14  (1\  c). 

Reclus,  The  Earth,  Vol.  I,  pp.  36-40,  Lli.hke,  Hist.    Sculp.,   Vol.    i,   pp.   61- 

45-75  (a),  18  22,  40  45  (b).  6  (c);    Hist.    Art,  Vol.    i,   pp.    121-4, 

Enc.    Brit.,  Vol.  11,  pp.  80-2  (a),  89-  167  75(c). 

93  (b).  Knight,   Plct.   Gal.   Arts,   Vol.  2,  Text 

Am.   Enc,   Vol.   8,   pp.   1S5  6  (a),   186-  p.  179(c). 

8  (b).  WiNCKKLMANN.    Anc.   Art,   Vol.    i,   pp. 

Smith,  Hist,  of  Greece,  pp.  i-io(a),  11-  286  98  (c). 

38(b).  Wkstmacott,  Schools  of  Art,   pp.   74- 

Cox,  Gen.  Hist,  of  Greece,   pp.   I   5  (a),  86(c). 

5  20  (b).  Zeki-fi,  Hist.  Dev.  of  Arts,  pp.  153  66(b). 

GroTE,  Hist,  of  Greece,   Vol.  i  (!>),  Vol.  Taine,  Art  in  Greece,  pp.    10  19  (a),  19- 

2,  pp.  211   39  (a,  b).  65    (b,    c)  ;    riiil.    of   Art,   pp.    119-37 

Seemann,    Mythology    of    Greece     md  (b,  c). 

K<)ine(l)).  Fei  loN,    .\nc.    Greece,    Vol.    2,   pp.   5- 

Waldstein,  Es.says  on  the  Art   of  Phci-  12  (b,  c). 

dias,  pp.  16  23  (c).  jAkVK>,  .Vrt  Ide?,  pp.  28  34  (b,  c). 


h  HISTORY  OF  SCULPTURE. 

2.  Sculpture  in  wood  :  characteristics  of  the  most 
ancient  statues  of  the  gods,  and  of  the  fmproved  types 
introduced  by  Daidalos ;  question  as  to  Daidalos — an 
historical  or  symbolical  personage  ? 

MiTCHEi.i.,  Hist.  Anc.  Sculp.,  pp.  140  I.  Winckei.mann,    Anc.    Art,    Vol.   i,  pp 

Perky,  Greek  and   Roman   Sculp.,   pp.  136  9. 

15  21.  Flaxman,  Lect.  on  Sculp.,  pp.  80-3. 

Murray,  Hist.  Greek  Sculp.,  Vol.  i,  pp.  Zerfi  i,  Hist.  Dev.  of  Art,  187-90. 

68  9.  Rkeer,  Hist,  of  Anc.  Art,  pp.  267-8. 

LUEBKE,  Hist.   Sculp.,  Vol.  I,  pp.  74-5;  Ovp:kbeck,    Gesch.    d.    Gr.    Plastik   (3rd 

Hist.  Art,  Vol.  i,  pp.  175  6.  ecL),  Vol.  i,  pp.  27  30. 
Kmght,   Pict.    Gal.   Arts,  Vol.   2,   Text 

pp.  179,  182. 


3.  Sculpture  in  stone  and  metal ;  the  treasuries  of 
Atreus  and  Minyas  ;  the  Lion  Gate  of  Mykene,  and  the 
Niobe  of  Mount  Sipylos  (a)  ;  the  shield  of  Achilles,  as 
described  in  Homer,  and  the  sword-blades  from 
Mykene  (b). 

MiTCHEi.i,,    Hist.    Anc.    Sculp.,     141  5,  Luebke,  Hist.   Sculp.,  Vol.  i,  pp.  73-4 
'53-5  (a).  '52-5.  156  61  (b).  (a),  70  2  (1))  ;    Hist.    Art,    Vol.    i,   pp. 

Perry,   Greek   and    Roman    Sculp.,  pp.  176  7  (a,  b). 

21-26,  28-30  (a),  36-39  (b).  Reker,   Hist.  Anc.   Art,   pp.    272-5   (a), 

McRRAY,  Hist.  Greek  Sculp.,  Vol.  i,  pp.  269  72  (b). 

38-42,  64-8  (a),  44-59  (b).  OvERiu:rK,    Gesch.    d.    Gr.    Plaslik   (3rd 

ed.),  Vol.    I,  pp.  30-3  (a),  36-50  (b). 


HISTORY  OF  SCULPTURE.  / 

v.— GREEK  SCULPTURE ;  EARLY  ARCHAIC  PERIOD. 

600 — 500    K.    C. 

1.  Advance  in  technical  skill  under  the  sculptors, 
Dibutades  of  Sikyon,  Glaucos  of  Chios,  Rhoicos  and 
Theodoros  of  Samos,  and  Melas  of  Chios  ;  materials  and 
methods  employed  by  these  masters  (a)  ;  importance  and 
character  of  the  school  of  sculpture  established  in  the 
Peloponnesos  by  Dipoinos  and  Skyllis  of  Crete  about  580 
B.  C.  (b). 

MiTCHF.M.,   Hist.   Anc.    Sculp.,    pp.    171  Lueuke,    Hist.   Scul]).,    Vol.  i,  pp.  76  9 

(a),J.oi-^(b).  (a),    79  80  (b)  ;    Hist.    Art,   Vol.    i,   p. 

Perry,  Greek   and    Roman    Sculp.,  pp.  178. 

47  50  (a),  50-3  (b).  Rkber,   Hist.   Anc.    Art,  pp.  278-81  (a), 

Mi'RRAY,    Hist.    Greek    Sculp.,   Vol.   i,  281     (  b). 

pp.  71-85  (a),  88-92  (b).  Overbeck,    Gesch.  d.    Gr.    Plastik    (3rd 

ed.),  Vol.  I,  pp.  60-71  (a),  71-7  (b). 

2.  Distinctive  types  and  general  characteristics  of 
the  extant  sculptures  of  this  period,  the  statues  of  Apollo 
from  Thera,  Cenea  and  Orchomenos  (a)  ;  the  winged  Nike 
by  Archermos  of  Chios  (b) ;  the  seated  figures  from 
Miletos  and  Athens  (c). 

MiTCHEl.l.,  Hist.  .\nc.  .Sculp.,  p[).  193  4,  Li:eI!KE,    Hist.    Sculji.,   Vol.    i,   pp.  85  7 

204  |fc  212  (a),i95  7(b),  179-80,  214(c).  (.1),  91  3  (c)  ;    Hist.    Art,   Vol.    i,    pp. 

Perry,   Greek   and   Roman   .Scul]).,  ])|).  180(a),  182(c). 

55  7  (a),  75   7  (c).  Rehek,     Hist.    Anc.    .Sculp.,    ])p.    285   7 

Mlrray,  Hist.  Greek  Sculp.,  Vol.  1,  j)]).  (a,  c). 
105-8  (a),  87  (b),  114  16(c). 


8  HISTORY  OK  SCULPTURE. 

Wai. OSTEIN,  Essays  on  the  Art  of  Fhei-       Overbeck,    Gesc/i.    d.    Gr.   Plastik  (3rd 
dias,  pp.  44-7  (a).  ed.),  Vol.   1,  pp.  87-93,  93-6(3),  145- 

7  (c). 

3.  The  reliefs  from  the  ancient  temple  of  Assos  (a)  ; 
the  Harpy  Monument  and  its  reliefs  (b)  ;  the  metopes 
from  the  oldest  temple  at  Selinus,  or  Selinuntios  (c). 

Mitchell,  Hist.  Anc.  Sculp.,  pp.  182-8  Luebke,    Hist.   Art,    Vol.    i,    pp.    81-4 

(a,  b),  219-20(0).  (a,  c),  93-7  (b) ;    Hist.  Art,  Vol.  i,  pp. 

Perry,  Greek  and  Roman   Sculp.,   pp.  178-80(3,  c),  182-3  (b). 

61-7  (a,  c),  1 1 1-7  (b).  Reber,  Hist.  Anc.  Art,  pp.  283-4  (c). 

Murray,  Hist.  Greek  Sculp.,  Vol.  i,  pp.  Knight,   Pict.    Gal.    Arts,   Vol.    2,    pp. 

128-9(3),  1 16-21  (b),  99-105  (c).  186-7  (c). 

Harrison,    Studies   in  Greek   Art,    pp.  Overbeck,  Gesch.  d.  Gr.  Plastik,  Vol.  i, 

149-70  (c).  pp.  78-83  (c),  98-100  (a),  169-75  (b). 


VI.— GREEK  SCULPTURE ;  ADVANCED  ARCHAIC  PERIOD. 

500 — 450  w.  c. 

I.  The  athletic  games,  and  the  developed  temple 
structure  ;  causes  of  their  influence  upon  the  progress  of 
sculpture  (a)  ;  plan  of  a  Greek  temple ;  position  and 
character  of  its  sculptured  adjuncts — pediments,  frieze  and 
metopes  (b). 

Waldstein,   Essays  on  the  Art  of  Phei-  GfHL,  Greeks  and  Romans,  pp.  106-10, 

dias,  pp.  394-420  (a).  213-31  (a),  11-52  (Ij). 

Mitchell,  Hist.  Anc.  .Sculp.,  pp.  225-8  WoKuswtJKTii,  Greece,   pp.  313-6  (a). 

(a),  228-32  (b).  Smith,  Hist,  of  Greece,  pp.  143-6  (b). 

Perry,   Greek   and  Roman   Sculp.,    pp.  Taine,  .\rt  in  Greece,  pp.  119-62;    Phil. 

43-6  (b).  of  Art,  pp.  124-37  (a). 

CiRTlls,   Hist,    of  Greece,    Vol.    2,   pp.  Harrison,   .Studies    in   Greek    Art,    pp. 

65- So.  175-93  (a). 


HISTORY  OF  SCULPTURE.  9 

2.  The  schools  of  Argos  and  Sikyon:  Ageladas  of 
Argos,  his  bronze  statues  of  gods  and  Olympian  victors; 
his  celebrated  school  and  scholars  (a);  Canachos  of  Sik- 
yon, his  statue  of  Apollo  (b). 

Murray,  Hist.  Greek  Sculp.,  Vol.  i,  pp.  Luebkk,  Hist.  Sculp.,  Vol.  i,  pp.  99  (a), 

131-7  (a),  138-43  (b).  98(b). 

Mitchell,  Hist.   Anc.  Sculp.,  pp.  ^^9-  Reber,  Hist.   Anc.   Art.,  pp.  98-9. 

50  (a),  251-2  (b).     -   ■?  '     -  OvERBECK,  Gesch  d.  Gr.  Plastik  {T,r6.  ed.). 

Perry,  Greek   and   Roman    Sculp.,  pp.  Vol.  i,  pp.  105-8  (a),  108-11  (b). 

89-90  (a),  86-8  (b). 

3.  The  school  of  yEgina:  ancient  importance  of 
the  island;  principal  works  and  characteristics  of  the 
sculptors  Gallon  and  Onatas  (a);  the  /Eginetan  marbles, 
history  of  their  discovery,  and  theories  as  to  their*  subject 
and  original  position  (b). 

Mitchell,   Hist.  Anc.  Sculp.,  pp.  237-9  i86-8  (b);    Mon.   Art,   Vol.  i,   PI.  16, 

(a),  239-48  (b).  Text  pp.  61-2  (b). 

Murray,  Hist.  Greek  Sculp.,  Vol.  1,  pp.  Kmght,  Pict.  Gal.  Arts,  Vol.    i,  111.  pp. 

143-50  (a),  151-69  (b).  •  24-5,  Text  pp.  187,  190 -I  (b). 

Perky,    Greek  and  Roman   Sculp.,   pp.  Reber,  Hist.  Anc.  Art,  pp.  293-7  (a,  b). 

82-3,  84-6  (a),  122-30  (b).  OvERBECK,  Ggs(/i  d.  Gr.  Plaslik{l\i\  ed.), 

LuEBKE,   Hist.    Sculp.,  Vol  I,  pp.  loo-i  Vol.  I,  pp.  ii2-3(a),   128-40  (b). 

(a),    102-6  (b);    Hist.    Art,    Vol.  i,  jip.  Redi-okd,  Anc.  Sculp.,  pji-  l26-9(b). 

4.  The  early  Attic  school  :  influences  contributing 
to  its  development,  and  the  materials  employed  by  its 
sculptors  (a)  ;  Critios  and  Nesiotes,  and  their  group  of 
Harmodios  and  Aristogeiton  ;  popularity  of  this  subject 
in  Athens,  and  extant  works  representing  it  (b). 


lo  HISTORY  OF  SCULPTURE. 

Murray,  Hist.  Greek  Sculp.,  Vol.  i,  pp.  Luebke,   Hist.  Sculp.,  Vol.  i,  pp.  101-2 

t70-8   (b).  (b);   Hist.  Art,  Vol.  i,  p.  185  (b). 

MiTCHEi.i.,  Hist.  Anc.  Sculp.,  pp.  283-4  Reber,  Hist.  Anc.  Art,  pp.  297-8  (b). 

(a),  285-7  (b).  OVERBECK,    Gesch.    d.    Gr.    Plastik  (3rd 

Perry,  Greek  and  Roman  Sculp.,   pp.  ed.),  Vol.  i,  pp.  118-22  (b). 
96-7  (b). 

5.  Calamis  of  Athens  :  characteristics  of  his  style  ; 
his  female  figures,  and  statues  of  the  gods  ;  extant  works, 
which  may  be  traced  to  originals  by  Calamis, — Hermes 
Criophoros.  Apollo  Alexicacos,  Hestia  Giustiniani,  Pene- 
lope of  the  Vatican,  etc. 

Mi'RRAY,  Hist.  Greek  Sculp.,  Vol.  i,  pp.  Luebke,  Hist.  Sculp.,  pp.  114-16;  Hist. 

179-92.  Art,  Vol.  I,  p.  189. 

MiTCHEi.i.,  Hist.  Anc.  Sculp.,  pp.  289-91.  Reber,  Hist.  Anc.  Art,  pp.  299-300. 

Perry,    Greek   and  Roman   Sculp.,    pp.  Overbeck,    Gesch.    d.    Gr.    Plastik  (3rd 

163-0.  ed.),  Vol.  I,  pp.  217-22. 


6.  Pythagoras  of  Rhegion,  the  sculptor  of  heroes  and 
Olympian  victors  :  affinities  of  his  style  with  that, of  the 
vEginetan  school  ;  his  statues  of  Philoctetes  and  of  the 
athlete  Euthymos  ;  the  Choiseul  Gouffier  statue  in  the 
British  museum  ;  question  as  to  its  representing  Apollo 
or  an  athlete. 


Wai, OSTEIN,   Essays  on   the  Art  of  Phei-  Murray,  Hist.  Greek  Sculp.,  Vol.  i,  pp. 

dias,  pp.  332-72,  PI.  15.  200-12. 

MiTCHEi.i.,  Hist.  Anc.  Sculp.,  pp.  277-9,  Luebkk,   Hist.   Greek  Sculp.,  Vol.  i,  p. 

663-5.  116;  Hist.  Art,  Vol.  i,  pp.  189-90. 

Perry,    Greek    and    Roman  Sculp.,    pp.  Reber,  Hist.  Anc.  Art,  p.  301. 

152-4.  OVERPECK,    Gesch.     d.     Gr.   Plastik  (3rd 

ed.),  Vol.  I,  pp.  202-7. 


HISTORY  0¥  SCULPTURE.  il 

7.  IMyron,  the  sculptor  of  animals  and  athletes: 
peculiarities  of  his  style  ;  his  famous  cow;  his  Discobolos 
and  Marsyas;  the  Athlete  dropping  oil,  etc.;  comparison 
of  his  works  with  those  of  Calamis. 

Mitchell,  Hist.  Anc.  Sculp.,  pp.  291-6.  Reber,  Hist.  Anc.  Art,  pp.  301-3. 

Murray,  Hist.  Greek  Sculp.,  Vol.  i,  pp.  Wincke  mann,    Anc.   Art,   Vol.   2,  pp. 

213-35.  207-9. 

Perry,   Greek   and    Roman    Sculp.,  pp.  Overbeck,  (7<rrf/r.  </.  ^r. /*/<«///& (3rd  ed.), 

154-62.  Vol.  I,  pp.  207-17. 
Luebke,  Hist.   Sculp.,  Vol.    i,  pp.  116- 

20;  Hist.  Sculp.,  Vol.  I,  pp.  190-1. 


8.  The  temple  of  Theseus  at  Athens:  its  metopes 
and  friezes  ;  affinities  between  these  sculptures  and  the 
works  of  Myron. 


Murray,  Hist.  Greek  Sculp.,  Vol.  i,  pp.  Stuakt,  Antiquities   of  Athens,    pp.  94- 

-035-52.  102. 

Mitchell,  Hist.  Anc.  Sculp.,  365-8.  Ovkrbeck,    GtrscA.   d.    Gr.    Plastik  (3rd 

Perry,   Greek    and    Roman    Sculp.,  pp.  ed.),  Vol.  i,  pp.  343-55. 

215-22.  Redford,  Anc.  Sculp.,  pp.  130-5. 
Luebke,  Hist.  Sculp.,  Vol.  i,  pp.  144-6; 
Hist.  Art,  Vol.  i,  pp.  202-3. 


HISTORY  OK  SCULPTURE. 


VII.— PERFECTED  GREEK  SCULPTURE ;  THE  PHEIDIAN  PERIOD. 


450 — 400    H.    C. 


I.  Outlines  of  the  history  of  Greek  thought  and 
action  culminating  in  this  period  (a)  ;  the  Homeric  poems 
(b)  ;  the  Persian  war  (c)  ;  the  Athenian  constitution  (d)  ; 
the  Greek  drama  (e)  ;   the  administration  of  Pericles  (f). 


Waldstein,  Essays  on  the  Art  of  Phei- 

dias,  pp.  58-64  (a). 
Mitchell,  Hist.  Anc.  Sculp.,  pp.  223-5 

(a). 
Perry,    Greek  and  Roman    Sculp.,   ])p. 

170-3  (a). 
LUEBKK,  Hist.   Sculp.,  Vol.  1,  pp.  123-4 

(a). 
Gladstone,  Homer  (Primer  series),  (b). 
Lloyd,  Age  of  Pericles,  Vol.  i,  pp.  1-16 

(a,  b),   16-127  (c),  207-19  (d),  229-38  ; 

Vol.   2,  pp.    371-9  (e),  97-111,  147-58 

(0- 


Felton,   Greece,  Vol.  i,  pp.  71-131  (b), 

197-213  (e);     Vol.  2,  pp.    rii-9    (c), 

7i-iiO(,d),  13376(f). 
Collins,     Iliad,      and     Odyssey,    (Anc. 

Classics  series),  (b). 
Fyffe,  Hist.  Greece  (Primer  series),  pp. 

n-i2  (b),  49-73  (c),  40^2,    44-7   (d), 

78-9,  71-3  (H. 
Copleston,    /Eschylos,    (Anc.    Classics 

series),  (e). 

Van  Dvke,  Principles  of  Art,  Chap.  2. 


2.  Pheidias,  the  greatest  of  Greek  sculptors  : 
general  account  of  his  life  and  works  ;  the  characteristics 
of  his  style. 


Murray,  Hist.  Greek  Sculp.,  Vol.  2,  pp.       Mitchell,    History    Anc.     Sculp.,    pp. 

98-116.  299-301,  316-7. — Century   Mag.,    Vol. 

Waldstein,  Essays   on    the  Art  of  Phei-  23,  pp.  543-4,  553. 

dias,  pp.  56-8,  66-8.  Perry,    Greek   and   Roman  Sculp.,    pp. 

174-80,  200-2. 


HISTORY  OV  SCULPTURE. 


13 


Ll'ebke,  Hist.  Sculp.,  Vol.  i,pp.  124-7; 

Hist.  Art,  Vol.  i,  pp.  192-3,  198. 
WiNCKELMANN,   Anc.    Art,   Vol.    2,    pp. 

193-5- 
Knight,  Pict.   Gal.   of  Arts,  Vol.  2,  pp. 

206-7. 
CoLi.iGNON,  Greek  Archreol.,  pp.  153-6. 
Felton,  Greece,  Vol.  2,  pp.  136-7. 
Harrison,    Studies   in    Greek    Art,    pp. 

194-249. 


Wkstmacott,  Handbook  of  Sculp.,   pp. 

126-30,  141-4. 
Li.oYD,  Age  of  Pericles,  Vol.  2,  pp.  269- 

74.  302-5- 
LiTTKLi.'s  Living  Age,  Vol.     143,   pp. 

795-803. 
Lippincott's  Mag.,  Vol.   19,  pp.  65-74. 
Quarterly  Rev.,  Vol.    154,  pp.  382-6. 
OvERBECK,    Gesch.    d.     Gr.    Plastik   (3rd 

ed.).  Vol.  I,  pp.  248-52,  263-9. 


3.  The  v/orks  of  Pheidias  in  gold  and  ivory  :  the 
Athena  Parthenos,  description  in  detail  of  helmet,  shield, 
sandals,  pedestal,  etc.  ;  the  Lenormant  and  Varvakeion 
statuettes  and  their  value  as  copies  of  the  Athena  ;  other 
existing  copies,  partial  or  entire,  of  the  Athena, — the 
Minerva  Medicis,  Minerva  Giustiniani,  Athena  Velletri,  etc. 


MiTCHEl.i,,  Hist.  Anc.  Sculp.,  jjp. 
308-16. — Century   Mag.,   Vol.    23,   pp. 

544-8- 

MURRAV,  Hist.  Greek  Sculp.,  Vol.  2,  \>\>. 
116-22. 

Wai.DSTEIN,  Essays  on  the  Art  of  Phei- 
dias,   pp.  68-9,  269-88. 

Perry,  Greek  and  Roman  Sculp.,  pp. 
182-9. 


Lieuke,  Hist.  Sculp.,  Vol.  i,  pp.  127-9; 

Hist.  Art,  Vol.  i,  pp.  193-5. 
Rehek,  Hist.  Anc.  Art,  pp.  305-7. 
MiTEM.ER,  Ancient  Art,  p.  84. 
Coi.i.iGNON,  Greek  Arch;vol.,  pp.  156-9. 
Li.ovu,  Age  of  Pericles,  Vol.  2,  pp.  243- 

54- 
()\KRHECK,    Gcsih.    li.     Gr.    lUastik  (3rd 
ed. ),  Vol.  I,  pp.    252-6. 


4.  The  statue  of  the  Olympian  Zeus  ;  Pheidias' 
conception  of  the  god  as  compared  with  those  of  earlier 
artists  ;  analysis  of  the  various  reliefs  and  groups  upon 
the  throne,  footstool  and  pedestal  of  the  statue  ;  heads  of 
Zeus  from  Otricoli  and  Mclos. 


H 


HISTORY  OF  SCULPTURE. 


Mitchell,  Hist.  Anc.  Sculp.,  pp.  301-6,       Ri;hkr,  Auc.  Art,  pp.  307-9. 
530-1. — Century    Mag.,    Vol,    23,    pp.        Mlkllkr,  Ancient  Art,  pp.  84-5. 


548-50. 
W.AI.IKTKIN,  Essays  on  the  Art  of  Phei- 

dias,  pp.  70-4,  282. 
MiRR.W",  HisL  Greek  Sculp.,  Vol.  2,  pp. 

J23-3I- 
Wordsworth,  Greece,  pp.  312-13. 
Perrv,    Greek  and  Roman  Sculp.,    pp. 

42,  191-7. 
LuEBKE,  Hist.  Sculp.,  Vol.1,  pp.  129-33: 

Hist.    Art,    Vol.    i,    pp.   195-8  ;   Mon. 

Art,  Vol.  I,  PI.  17,  Text  pp.  63-4. 


CoLLir.NON,  Greek  ArciiKol.,  pp.  159-61. 
Wkstm.\cott,  Handbook  of  Sculp.,  pp. 

130-7- 
Li.ovn,  Age  of  Pericles,  Vol.  2,  pp.  255 

-68. 
Pknny  Mac,  Vol.  2,  pp.  114-5. 
Ovkrbf.ck,    Gt'sch.    d.    Gr.    Plastik   (3rd 

ed.).  Vol.  I,  pp.  257-62. 


5.  The  works  of  Pheidias  in  marble,  particularly 
the  Parthenon  sculptures :  description  of  the  Parthenon 
(a)  ;  subjects,  arrangement  and  character  of  the  sculp- 
tures of  the  pediments  (b). 


MiTCHKLL,  Hist.  Anc.  Sculp.,  pp.  327-9 
(a),   349-64. — Century   Mag.,   Vol.    23, 

PP-  553-4- 
Perry,   Greek  and   Roman    Sculp.,   pp. 

245-50  (a),  257-72  (b). 
Stiart,    Antiquities   of  Athens,  pp.  47- 

56  ra). 

Reber,   Anc.    Art,  pp.   225-6  (a),    310-3 

(h). 
Murray,  Hist.  Greek  Sculp.,  Vol.  2,  pp. 

i5-2f,  67-97. 
W.\L1)STEIN,   Essays  on  the  Art  of  Phei- 
dias,  pp.    107-88. — Nineteenth    Cent., 

Vol.  17,  pp.  658-75  (b). 
LUEKKE,  Hist.  Art,  Vol.  1,  pp.  154-5  (a), 

203-7  (b)  ;    Hist.    Sculp.,   Vol.    i,   pp. 

147-52  (b). 
Knicht,  Pict.  Gal.  Arts,  Vol.   2,  Til.  jsp. 

197,  200-1,  217,   Te.\t  pp.  219-26(1)). 


WoKi).s\V()R  TH,  Greece,  pp.  139-42  (a). 
GrHL,  Greeks  and  Romans,  pp.  25-31  (a). 
Redfori),    Anc.    .Sculp.,   pp.   150-65  (b), 

136-9  (a). 
FkrcU'sson,   The    Parthenon,  pp.  103-27 

(a). 
MrKl.i.KR,  Ancient  Art,  pp.  88-9  (b). 
Coi.i.KiNON,  Greek  Archx'ol.,  pp.    161   6. 
Li.OYi),   Age  of  Pericles,  Vol.  2,  pp.  177 

-81  (a),  181-5  (b). 
Crokkk,   Quarterly    Rev.,    Vol.,    14,  pp. 

5I3-47- 
Story,   Blackwood's   Edinb.  Mag.,  Vol. 

114,  pp.  686-713. 
Fei.ton,  Greece,  \'ol.  2,  pp.  141 -5. 
OVEUHECK,    Gesch.    d.     Gr     Plastirc  (3rd 

ed.).  Vol.  I,  pp.  292-315  (b). 


HISTORY  OF  SCULPTURE. 


IS 


6.  The  metopes  of  the  Parthenon:  artistic  merits, 
subjects,  and  varying  types  of  their  sculptures  (a);  the 
myths  concerning  the  Centaurs  and  Lapithse,  with  their 
symboHc  and  historic  meanings  (b). 


Mitchell,  Hist.  Anc.  Sculp.,  pp.  330-3 

(a).  —Century  Mag.,  Vol.  23,  pp.  556  9. 
Waldstf.in,   Essays  on  the  Art  of  Phei- 

dias,    pp.    87-97   (a). — Century    Mag., 

Vol.  23,  pp.  32-41- 
Murray,  Hist.  Greek  Sculp. ,     ol.  2,  pp. 

53-66  (a). 
Perry,  Greek  and    Roman    Sculp.,  pp. 

251-6  (a). 
LuEBKE,    Hist.  Sculp. ,  Vol.  I,  pp.  152-4 

(a);  Hist.  Art,  Vol.  i,  pp.  207-8;  Mon. 

Art,  Vol.  I,  PI.  17,  Text  p.  65. 


Knight,  Pict.  Gal.  Arts,  Vol.  2,  111.  pp. 

180-1,  Text  pp.  214-5  (a)- 
Reber,  Anc.  Art,  pp.  315-6  (a). 
Seemann,  Myth.,  pp.  165-8  (b). 
Redford,  Anc.  Sculp.,  pp.  147-9  C^^- 
Mueller,  Ancient  Art,  p.  87. 
CuLLiONO.N,  Greek  Archteol.,  pp.  166-8 
Overbeck,    Gesc/i.    d.    Gr.    Plastik  (3rd 

ed.).  Vol.  I,  pp.  315-28(3). 


7.  The  great  frieze:  the  subjects,  and  general  style 
of  its  reliefs  (a);  historic  account  of  the  Panathenaic 
festival,  particularly  of  its  culminating  feature,  the  grand 
procession  (b). 


Mitchell,  Hist.  Anc.  Sculp.,  pp.  333- 
49. — Century  Mag.,  Vol.  23,  pp.  554-6. 

Waldsteln,  Essays  on  the  Art  of  Phei- 
dias,  pp.  191-266(3). — Century  Mag., 
Vol.  23,  pp.  174-82. 

Murray,  Hist.  Greek  Sculp.,  Vol.  2,  pp. 

23-53  (a). 
Perry,    (ireek  and   Roman    .Sculp.,  pp. 

273-300  (a). 
LuKBKK,  Hist.    Sculp.,  Vol.  I,  pp.  154  8 

(a);  Hist.  Art,  Vol.    i,   pp.   208  1 1  (a); 

Mon.  Art,  PI.   17,  Text  pp.  65  6  (a). 
Km<;iit,  Pict.  Gal.  Arts,  V^jI.  2,  III.  pp. 

184  5,  188-97,  Text  pp.  214  9. 
Reber,  Anc.  Art,  jip.  313-5  (a). 


Rkdfori),  Anc.  Sculp.,  pp.  139-46(3). 
CuRTius,    Hist.  Greece,  Vol.  2,  pp.  630- 

2  (b). 
Wordsworth,   Greece,  pp.    135-6,    138 

(b). 
MuiLLKR,  Ancient  .\rt,  pp.  87  8  (a). 
CoLLic.NoN,  (ireek  Archaol.   pp.    168-73 

(a). 
lUkTMKLKMY,  Travels  of  ,\nacharsis  the 

\'<)unger,  \'(tl.  2,  ])p.  428-42  (b). 
I.Lovi),  .Age  of  Pericles,  \'ol.  2,  pp.  164- 

74(1)),  174  7(a). 
Ovi-kiiicK.    G-s,h.    ,/.     (,■;•.    Plastik   (3n' 

ed.),  \"<>1.    I,  i>p.  23S-42  (a). 


i6 


HISTORY  OF  SCULPTURE. 


VIII.— PERFECTED  GREEK  SCULPTURE ;  SCHOLARS  AND 
CONTEMPORARIES  OF  PHEIDIAS. 


450-400  li.  c. 


I.  Agoracritos,  Colotes  and  Thrasymedes  of  Paros; 
their  works  in  marble,  gold  and  ivory,  etc.,  and  their  con- 
nection with  Pheidias. 


Mitchell,  Hist.  Anc.  Sculp.,  pp.  318-9. 
Perrv,   Greek  and    Roman    Sculp.,   pp. 

207-9. 
Murray,  Hist.  Greek  Sculp.,  Vol.  2,  pp. 

132-8. 
LuEBKE,  Hist.  Sculp.,  Vol.  I,  pp.  138-9; 

Hist.  Art,  Vol.  i,  pp.  200-1. 


Rebkr,  Anc.  Art,  pp.  316-7. 
Westmacott,  Handbook  of  Sculp.,  pp. 

144-7. 
OvERBECK,    Gesch.    d.    Gr.    Plastik   (3rd 

ed.).  Vol.  I,  pp.  277-80. 


2.  Alcamenes;  question  as  to  his  artistic  style  and 
its  affinities;  his  statues  of  the  gods — Aphrodite  Urania, 
Hecate,  Dionysos,  Ares,  Hephaestos,  etc. — and  their 
distinctive  types. 


Mitchell,  Hist.  Anc.  .Sculp.,  pp.  319-21. 
Murray,  Hist.  Greek  Sculp.,  Vol.  2,  pp. 

139-46. 
Perry,  Greek  and   Roman  Sculp.,   pp. 

203-5- 
Luebke,  Hist.  Sculp.,  Vol.  i,  pp.  135-8; 
Hist.  Art,  Vol.  i,  pp.  199-200. 


Reber,  Anc.  Art,  pp.  317-9. 
CoLLiGNON,  Greek  Archseol.,  pp.,  173-4. 
Edixburgh  Rkv.,  Vol.  149,  pp.  235-8. 
OvERBECK,    Gesch.    d.    Gr.    Plastik  (3rd 
ed.),  Vol.  I,  pp.  270-7. 


3.     Alcamenes  at  Olympia  :  description  of  the  great 
national   shrine  at   Olympia  (a);    the   sculptures    of   the 


HISTORY  OF  SCULPTURE. 


17 


temple  of  Zeus  ;  character  and  subjects  of  the  metope 
reHefs  (b)  ;  the  west  pediment  groups,  and  the  style  of 
Alcamenes  as  illustrated  by  them  (c). 


Wordsworth,  Greece,  pp.  309-16  (a). 
Falke,  Greece  and  Rome,  pp.  128-30(3). 
Mitchell,  Hist.   Anc.   Sculp.,    pp.  253 

-61  (a,  b),  266-73  (c). — Century  Mag., 

Vol.  23,  pp.  551-2. 
Murray,    Hist.    Greek   Sculp.,    Vol.   2, 

pp.   145-57  (b,  c). — Nineteenth  Cent., 

Vol.  8,  pp.  1015-7  (b). 
Perry,  Greek  and  Roman   Sculp.,   pp. 

236-8  (c). 
CoLLiGNON,    Greek  Archseol.,  pp.    177- 

-82  (b),  184-8  (c). 


HiRSCHFELD,    Macmillan's    Mag.,    Vol. 

37.  PP-  55-61  (a),  62-3  (c). 
Clrtus,  North  Amer.    Rev.,  Vol.  131, 

pp.  484-95- 
Quarterly  Rev.,  Vol.  150,  pp.  469-97 

(a). 
Edinburgh  Rev.,  Vol.   149,  pp.  21 1-9 

(a),  222-4,  239-40  (b),  234-5  (c). 
Overbeck,    Gesch.    d.     Gr.   Plastik  (3rd 

ed.),  Vol.  I,  pp.  427-33  (c)»  441-8  (b). 


4.     The  east  pediment  sculptures   and   Paionios    of 
Mende  (a)  ;  the  Nike  of  Paionios  (b). 


Mitchell,  Hist.  Anc.  Sculp.,  pp.  261-6, 

402-5  (b). 
Murray,    Hist.    Greek   Sculp.,    Vol.    2, 

pp.  157-67  (a,  b). — Nineteenth  Cent., 

Vol.  8,  pp.  1012-5  (b). 
Pkkrv,   Greek    and    Roman  Sculp.,   pp. 

205-7,  231-4  (a),  239-41  (b). 
Reber,  Anc.  Art,  pp.  317-20. 


Coi.LiGNON,  Greek  Archa'ol.,   pp.   182-4. 
HiRSCHKELD,  Macmillan's  Mag.,  Vol.  31, 

p.  62  (a),  63  (b). 
Edi.nburgh  Rkv. ,  Vol.   149,  pp.  230-1 

(b),  231-3  (a). 
0\ERBECK,    Gesch.    d.    Gr.    Plastik   (3rd 

ed.).  Vol.  2,  pp.  413-27  (a,  b). 


Ig 


HISTORY  OF  SCULPTURE. 


5.  The  Apollo  temple  at  Bassai  and  the  Phigaleian 
marbles  :  history  of  their  discovery,  and  analysis  of  the 
composition  and  style  of  the  frieze  (a);  the  Amazon  myth 
and  its  popularity  as  a  subject  for  sculpture  (b). 


Mitchell,  Hist.  Anc.  Sculp.,   pp.  397- 

402  (a). 
MiRRAY,  Hist.  Greek  Sculp.,  Vol.  2,  pp. 

169-78  (a). 
Perry,   Greek   jfnd    Roman    Sculp.,  pp.' 

306-13  (a). 
LuEBKE,  Hist.   Sculp.,  Vol.   I,  pp.  171- 

5  (a);  Hist.  Art,  Vol.   i,  pp.  217-9  i^)' 

Men.  Art,  PI.  19,  Text  pp.  50,  66  (a). 
Seeman,  Myth.,  pp.  182-4  (b). 


Knight,  Pict.  Gal.    of  Arts,  Vol.  2,  111. 
pp.  24,  212-3,  216  ;  Text  pp.  30,  230-1, 

234-5  (a)- 
Wordsworth,  Greece,  pp.  318-21  (a). 
Reber,  Anc.  Art,  pp.  321-2  (a). 
Redford,  Anc.  Sculp.,  pp.  174-6. 
CoLLiGNON,    Greek  Archaeol.   pp.    188-9 

(a). 
OvERBECK,    Gesc/i.    d.    Gr.    Plasiik   (3rd 

ed.).  Vol.  I,  pp.  449-57  (a). 


6.  The  Acropolis  of  Athens  :  its  position,  general 
aspect  and  area  ;  locations  of  the  various  temples  and 
statues  upon  its  summit  (a);  the  sculptures  of  the  Erech- 
theion  and  the  temple  of  Nike  Apteros  ;  theories  as  to  the 
origin  of  the  Caryatidae  and  of  other  human  figures,  which 
were  used  in  the  place  of  columns  (b). 


Mitchell,  Hist.  Anc.  Sculp.,  pp.  327-S 

(a),  368-77  (b). 
Stiart,  Antiq.  of  Athens,  Pis.  1-2,  Text 

pp.  9-17  (a),  57-72  (b). 
Perry,   Greek    and    Roman    Sculp.,  pp. 

314-32  (b). 
Murray,  Hist.  Greek  Sculp.,  Vol.  2,  pp. 

179-202  (b). 
LuEBKE,  Hist.  Sculp.,  Vol.  I,  pp.  146-7, 

158-60  (b);  Hist.  Art,  Vol.  i,  pp.  212- 

13  (b)  ;  Mon.  Art,  Vol.  i,  PI.   17,  Text 

pp.  66-7. 


Reber,  Hist.  Anc  Art,  pp.  242-5  (b). 
Smith,  Hist.  Greece,  pp.  392-7  (a,  b). 
Wordsworth,   Greece,    pp.    132-3    (a). 

142-5  (b). 
Phillips,  Lippincott's  Mag.,  Vol.  11,  pp. 

150-8  (a,  b). 
Am.  Cyc,  Vol.  2,  pp.  61  4  (a,  b). 
Quarterly  Rev., Vol.  154,  pp.  385-6  (b). 
Edinburgh   Rkv.,  Vol.  no,   pp.   35-59 

(a),  [.A.m.  Ed.,  pp.  18  30]. 
OvERBECK,    Gesch.    d.    Gr.    Plastik  (3rd 

ed.).  Vol.  I,  pp.  355-70  (b). 


HISTORY  OF  SCULPTURE. 


19 


7.  Polycleitos  of  Argos  :  his  style  and  favorite  sub- 
jects ;  his  statues  of  Hera,  the  Amazon,  Diadumenos, 
Doryphoros,  etc. ;  extant  copies  of  the  Amazon  of  Poly- 
cleitos, and  those  of  his  competitors. 


Mitchell,  Hist.  Anc.   Sculp.,  pp.  384- 

94. 
Murray,  Hist.  Greek  Sculp.,  Vol.  i,  pp. 

257-85- 
Perry,    Greek  and   Roman    Sculp.,   pp. 

345-58- 
Reber,  Hist.  Anc.  Art,  pp.  322-6. 


LuEBKK,  Hist.  Sculp.,  Vol.  I,  pp.  161-8  ; 

Hist.  Art,  Vol.    i,   pp.   213-16;  Mon. 

Art,  Vol.  I,  Pis.  17-18,  Text  pp.  67-S. 
CoLLiGNON,  Greek  Arcli?eol.,  pp.  189-93. 
MtELLER,  Ancient  Art,  pp.  91-3. 
OVERBECK,    Gesch.    ,/.     Gr.  Plastik  (3rd 

ed.),  Vol.  I,  pp.  385-402. 


IX.— GREEK  SCULPTURE ;  THE  PERIOD  OF  SCOPAS  AND 
PRAXITELES,  ATTIC  SCHOOL. 


400 — 300    I!.     C. 

I.  General  characteristics  of  this  period  and  style  ; 
effect  of  the  Peloponnesian  war  upon  the  development 
of  art. 


Mitchell,  Hist.  Anc.  Sculp.,  pp.  427 -32.  Zkki-I'I,  Hist.  Dev.  of  Art,  i)p.  201-2. 

Perry,  Greek   and  Roman  .Sculp.,    i)p.  C<)i.Li(;Nf>N,  Greek  Archa'ol.,  p]».  194-5. 

368-74.  MiKLLik,  .\ncient  Art,  pp.  95-6. 

Li'KBKE,  Hist.  Sculp.,  Vol.  I,  ])p.  114-6  ;  Ovkrimuk,    Gisih.    </.    Gr.    P/ns/ii-  {yd 

Hist.  Art,  Vol.  I,  i)p.  219  20.  I'd.),  XOl.  2,  pp.  1-6. 

2.      Kephisodotos,   the  master  of  the  transition  :   his 
works,  especially  his  Eirene  and  Plutos. 


HISTORY  OF  SCULPTURE. 


Mitchell,  Hist.  Anc.  Sculp.,  pp.  432-5. 
Murray,  Hist.  Greek  Sculp.,  Vol.  2,  pp. 

243-8. 
Perry,   Greek    and    Roman  Sculp.,   pp. 

374-6. 


LUEBKE,  Hist.  Greek  Sculp.,  Vol.  i,  pp. 

177-9;  Hist.  Art,  Vol.  i,  pp.  220-1. 
Reber,  Anc.  Art,  pp.  329-30. 
Ovkrbeck,    Gesch.    d.    Gr.    Plastik   (3rcl 

ed.),  Vol.  2,  pp.  6-10. 


3.  Scopas  of  Paros:  his  character  as  architext  and 
sculptor ;  the  temple  of  Tegea  and  the  plastic  ornaments 
of  its  pediments  ;  his  statues  of  Apollo,  Ares,  Asclepios 
and  the  raving  Bacchante  ;  the  reliefs  of  the  marriage  of 
Poseidon  and  Amphitrite. 


Mitchell,  Hist.  Anc.   Sculp.,  pp.  455-       Luebke,  Hist.  Sculp.,  Vol.  i,  pp.  180-6; 

Hist.  Art,  Vol.  i,  p.  221-2  ;  Mon.  Art, 
Vol.  I,  PI.  18,  Text  pp.  68-9. 

Zerffi,  Hist.  Dev.  of  Art,  pp.  202-5. 

CoLLiGNON,  Greek  Archa^ol.,  pp.  195-7. 

Mueller,  Ancient  Art,  pp.  96-7. 

Overbeck,  Gesch.  d.  Gr.  Plastik  (3rd  ed.). 
Vol.  2,  pp.  10-23. 


63- 
Murray,  Hist.  Greek  Sculp.,  Vol.  2,  pp. 

284-93.  307-14- 
Perry,  Greek  and  Roman  Sculp.,   pp. 

378-401,  425-6. 
Reber,  Anc.  Art,  pp.  331-2. 


4.  Leochares  of  Athens  :  his  rank  as  an  artist,  and 
his  connection  with  Scopas  ;  his  group  of  Ganymedes  and 
the  eagle. 


Mitchell,  Hist.  Anc.  Sculp.,  pp.  460-2. 
Murray,  Hist.  Greek  Sculp.,  Vol.  2,  pp. 

323-6. 
Perry,  Greek  and    Roman   Sculp.,   pp. 
462-5. 


Luebke,   Hist.   Scudp.,   Vol.    i,  pp.  186; 

Mon.  Art,  PL  18,  Text  p.  79. 
Mueller,  Ancient  Art,  pp.  101-2. 
Overbeck,    Gesch.   d.    Gr.    Plastik.,    Vol. 

2,   pp.  62-8. 


5.  The  Mausoleum  at  Halicarnassos:  combination 
of  Greek  and  Oriental  ideas  in  its  structure  ;  its  sculp- 
tural decorations,  friezes,  statues,  quadriga,  etc. 


HISTORY  OF  SCULPTURE. 


Mitchell,  Hist.  Anc.  Sculp.,  pp.  463-74. 
Murray,  Hist.  Greek  .Sculp.,  Vol.  2,  pp. 

293-303- 
Perry,    Greek    and   Roman   Sculp.,   pp. 

402-13. 
LuEBKE,  Hist.  Sculp.,  Vol.  I,  pp.  207-14; 

Hist.  Art,  Vol.  i,  pp.  227-8. 
Fergusson,  Hist.  Arch., Vol  i,  pp.  272-4. 
Redford,  Anc.  Sculp.,  pp.  179-82. 
CoLLlGNON,    Greek   Archoeol.,    pp.   197- 

200. 


WESTM.\corT,  Handbook  of  Sculp.,  pp. 

185-91. 
CoLViN,   Fortnightly  Rev.,  Vol.    15,  pp. 

472-84. 
Chambers's  Journal, Vol.  13(1860),  pp. 

49-52. 
Edinburgh  Rev.,  Vol.  116,  pp.  461-90, 

(.\m.  ed.,  pp.  234-49.) 
Overbeck,    Gesch.    d.    Gr.    Plastik  (3rd 

ed.).  Vol.  2,  pp.  69-80. 


6.     Praxiteles :    his    relation    to    Kephisodotos    and 
Scopas  ;  his  style  and  execution,  compared  with  theirs. 


Mitchell,  Hist.  Anc.  Sculp.,  pp.  436  7, 
444;  Century  Mag.,  Vol.  23,  pp.  829- 

32- 
Waldstein,   Essays  on  the  Art  of  Phei- 

dias,  pp.  390-3. 
Perry,  Greek   and   Roman   Sculp.,  pp. 

427-9,  460-1. 
Murray,  Hist.  Greek  Sculp.,  Vol.  2,  pp. 

249-52,  282-3. 
LuEBKE,  Hist.   Sculp.,  Vol.    I,  pp.  187- 

8;    Hist.    Art,  Vol.  i,    pp.  222-3. 


Wl.VCKEI.MANN,  Anc.    Art,    Vol.    2,    pp« 

390-3. 
Zerkki,  Hist.  Dev.  of  Art,  pp.  205-6. 
Harrison,    .Studies   in   Greek   Art,    pp. 

263  73- 
Mueller,  Ancient  Art,  pp.  200-6. 
Westmacott,  Handbook  of  Sculp.,  pp. 

175-84. 
Quarterly  Rev.,  Vol.    154,  pp.  390-3. 
Overbeck,    Gesch.  d.    Gr.    Plastik   (3rd 

ed.).  Vol.  2,  pp.  23  4,  49-51. 


7.  Praxiteles'  Hermes  with  the  infant  Dionysos  ; 
interest  attaching-  to  it  as  an  original  work;  history  of  its 
discovery. 


Mitchell,  Hist.  Anc.  Sculp.,  jip.  437- 
44  ;  Century  Mag.,  Vol.  23,  j)p.  832   5. 

Waldstein,  Essays  on  the  Art  of  I'hci- 
dias,  pp.  373-89. 

Perry,  Greek  and  Roman  Sculp.,  ])p. 
455  9- 


Murray,    Hist.    (Jreck    .Sculp.,    Vol.  2, 

pp.  256  8. 
Kehek,  Hist.  Anc.  Art,  pp.  335-6. 
Harrison,   .Studies    in   Greek    .\ri,    pp. 

250  63. 
Overbeck,    Gcsih.  d.    Gr.    Plastik    (3rd 

ed  ),  V..1.  2,  p]).  37-40. 


HISTORY  OF  SCULPTURE. 


8.  Praxiteles'  many  representations  of  Eros,  Apollon, 
Demeter,  Dionysos,  satyrs,  etc.,  and  their  distinctive 
characteristics  ;  his  famous  statues  of  Aphrodite  ;  com- 
parison between  them  and  those  of  earHer  times. 


Mitchell,  Hist.  Anc.  Sculp.,  pp.  444- 
54  ;  Century  Mag.,  Vol.  23,  pp.  835-6. 

Murray,  Hist.  Greek  Sculp.,  Vol.  2,  pp. 
258-83. 

Perry,  Greek   and    Roman    Sculp.,  pp. 

432-5- 
CoLLlGNON,  Greek   Archreol.,  pp.  200-6. 
Mueller,  Ancient  Art,  pp.  loo-i. 


LuEBKE,    Hist.   Sculp.,  Vol.   I,  pp.  188- 

95  ;  Hist.  Art,  Vol.  i,  pp.  223-5  >  Mon. 

Art,  PI.  18,  Text  p.  69. 
Winckelmann,  Anc.    Art,    Vol.    i,  pp. 

322  3  ;  Vol.    2,    pp.    216-8,   notes  pp. 

442-5,  409. 
OvERBECK,    Gesch.    d.    Gr.    Plastik   (3rd 

ed.).   Vol.   2,   pp.  28-37,  40-51- 


9.     The  Niobe  group  :   history  of  its   discovery  ;    its 
composition  and  arrangement. 


Mitchell,  Hist.  Anc.  Sculp.,  pp.  475-81 
Perry,    Greek  and  Roman  Sculp.,   pp 

414-25. 
Murray,  Hist.  Greei:  Sculp.,  Vol.  2,  pp, 

314-22. 
LuEBKE,  Hist.  Sculp.,  Vol. I,  pp.  196-200 

Hist.    Art,    Vol.    i,    pp.  225-7  ;    Mon 

Art,  Vol.  I,  PI.  18,  Text  pp.  69-70. 


Knight,  Pict.  Gal.  of  Arts,  Vol.  2,  111.  p 

224,  Text  pp.  259,  262. 
Winckelmann,  Anc.  Art,,  Vol.  i,  p.  361; 

Vol.  2,  pp.  201-3. 
Reber,   Hist.  Anc.    Art,  pp.  332-3. 
Mueller,  Anc.  Art.,  pp.  97-9. 
OVEKBECK,    Gesch.    d.     Gr.    Plastik  (3rd 

ed.).  Vol.  2,  pp.  52-62. 


10.     The  monument  of  Lysicrates  ;    occasion  of  its 
erection  ;   its  sculptured  frieze. 


Mitchell,  Hist.  Anc.  Sculp.,  pp.  485-9. 
Perry,  Greek  and   Roman    Sculp  ,   pp. 

473-6. 
Murray,  Hist.  Greek  Sculp.,  Vol.  2,  pp. 

330-5- 
Stuart,    Antiquities  of  Athens,  Pis.  12- 
7,  Text  pp.  34-41. 


LuEBKE,   Hist.  Sculp. ,  Vol.  I,  pp.  200-1; 

Hist.  Art,  Vol.  i,  pp.  162-3  '■>  ^lon.  Art, 

Vol.  I,  PI.  18,  Textp    70. 
Fergusson,    Hist.    Arch.,    Vol.     i,     pp. 

256-7. 
OVERBECK,    Gescli.    d.     Gr.    Plastik    (3rd 

ed.),  Vol.  2,  pp.  90-5. 


HISTORY  OF  SCULPTURE. 


23 


X.— GREEK  SCULPTURE ;  THE  PERIOD  OF  SCOPAS  AND  PRAX- 
ITELES, THE  PELOPONNESSIAN  SCHOOL. 


400-300  K.  C. 


I.  Lysippos,  the  master  in  bronze :  his  portrait 
statues  of  Alexander,  and  his  ideal  statues  of  historic 
characters  ;   his  statues  of  the  q-ods  and  of  Heracles. 


MiTCllEl.i.,      Hist.      Anc.      Sculp.,     pp. 

508-16. — Century   Mag.,    Vol.    24,   pi). 

79-90. 
Murray,  Hist.  Greek  Sculp.,  Vol.  2,  pp. 

337-41.343-54- 
Pkrry,   Greek  and    Roman    Sculp.,   pp. 

478-80,  482-6. 
LuKBKK,   Hist.   Sculp.,  Vol.  I,  pp.  216-8; 

Hist.  Art,  Vol.    I,   pp.  228-9. 


Ri'.iiKR,  Hist.  Anc.  Art,  pp.  342-5. 
CoLl.iuNO.N,  Greek  .'Vrchieol.,  pp.  208-11. 
Mueller,  Anc.  Art.,  pp.  106-7. 
Westmacott,  Handbook  of  Sculp.,   pp. 

191-5- 
Quarterly  Rev.,  Vol.  154,  pp.  393-5. 
OVERBECK,    Gesc/i.     d.    Gr.    riastik  (3rd 

ed.).  Vol.  2,  i)p.  105-14. 


2.  Lysippos'  improvements  upon  the  canon  of 
Polycleitos,  as  seen  in  his  Apoxyomenos  ;  extant  w^orks 
reflecting  the  style  of  the  Apoxyomenos,  Ares  Ludovisi, 
Hermes  resting,  Hermes  or  Antinous  of  the  Vatican. 


Mitchell,  Hist.  .Anc.  Sculp.,  jip.  516-8. 
Pkrry,  Greek   and  Roman    Sculp.,    i)p. 

393  4.  486-8,  493. 
Murray,    Hist.    Greek    Sculp.,    Vol.    2, 

PP-  34>-3- 
WiNCKELMA.NN,   Anc.   .\rt.   Vol.    I,    note 
on  pp.  463-4. 


l.UEiJKE,  Hist.  Sculp., Vol.  I,  pp.  218-22  ; 

Hist.   .\rt,   Vol.    I,  ])p.  229-30;  Mon. 

Art,  Vol.  I,  I'l.  i8a,  Text  p.  73. 
Reher,  Hist.  Anc.  Art,  pp.  340-1. 
Mueller,  Ancient  Art,  pp.  108  9. 
OvERHECK,    Cusdi.    (/.     Gr.    Plaslik  (3rd 

ed.).   Vol.   I,  pp.  114-28. 


34 


HISTORY  OK  SCULPTURE. 


3.     Works  of  the  sons  and  other  scholars  of  Lysippos ; 
the  Praying  Boy,  statue  of  the  city  goddess  Tyche,  etc. 


MiTCHEKL,  Mist.  Anc.  Sculp.,  pp.  551-4. 
Pkrrv,   Greek   and    Roman  Sculp.,  pp. 

490-3- 
MiRR.w,    Hist.    Greek    Sculp.,    Vol.   2, 

PP-  352-7- 


LUEBKE,  Hist.  Sculp.,  Vol.  I,  pp.  222-5. 
OvERHECK,    Gescli.    (/.    Gr.   Plastik   (3rd 
ed.),  Vol.  2,  pp.  129-39. 


4.  Other  art  remains  attributed  to  this  period  :  the 
bronzes  of  Siris,  Tarentum  and  Epeiros  (a)  ;  the  Demeter 
of  Cnidos  (b) ;  sculptures  from  the  temple  of  Artemis  at 
Ephesos  (c). 


Mitchell,    History    Anc.     Sculp.,    pp. 

527-37  (1j.  c). 
Perry,   Greek  and  Roman   Sculp.,    pp. 

390-2  (c),  499 -500(b). 
MlRR.W,  Hist.  Greek  Sculp.,  Vol.  2,  pp. 

260-2  (b),  303-4  (c),  334-5  (a). 
Redford,  Anc.  Sculp.,  p.  21. 


Enc.  Brit.,  Vol.  16,  p.  73  (a). 
BroNsted,  Bronzes  of  Siris  (a). 
Wai.dstein,  Century  Mag.,  Vol.  33,  pp. 

136-42  (c). 
Ovkrhkck,    GcslIi.    ({.    Gr.    Plastik   (3rd 

ed.).  Vol.  2,  ])p.   95-101  (c),  148  (b). 


XL— GREEK  SCULPTURE  ;  THE  HELLENISTIC  PERIOD. 


^00 — I-JI    li.    c. 


I.  Pergamon  :  occasion  of  its  rise  to  prominence  ; 
character  of  its  rulers  ;  their  triumphs  over  Galatians  and 
Greeks  of  Asia  Minor. 


HISTORY  OF  SCULPTURE. 


25 


MiTCHELi,,  Hist.  Anc,  Sculp.,  pp.  561-4; 

Century  Mag.,  Vol.  ^,  pp.  90-3. 
Perry,    Greek  and  Roman  Sculp.,   pp. 

534-5  ;  Fortnightly  Rev.,  Vol.  36,  pp. 

333-6. 


LuEBKE,  Hist.  Sculp.,  Vol.  1,  pp.  240-1. 
H.\RRisoN,    Studies   in  Greek   Art,    pp. 

283-91. 
Mueller,  Ancient  Art,  pp.  120-3. 


2.  Plastic  art  in  Pergamon  :  its  marvelous  develop- 
ment under  Attalos  I,  and  Eumenes  II  ;  votive  offering  of 
Attalos  to  Athens — four  extensive  battle  groups  ;  exist- 
ing Statues  copied  from  these  groups,  the  Fall.en  Warrior, 
Dying  Persian,  Fighting  Persian,  Dead  Giant,  Amazon, 
etc. 


MiTCHF.LL,  Hist.  Anc.  Sculp.,  pp.  570-3. 
Perry,  Greek  and    Roman    Sculp.,  pp. 

535-6,  537-42. 
MiRRAY,  Hist.  Greek  Sculp.,  Vol.  2,  pp. 

379-83- 
Rehkr,  Hist.  Anc.  Art,  pp.  349-50. 


Li'K.nKK,  Hist.  Sculp.,  Vol.  i,  pp.  241-4; 

Hist.  Art,  Vol.  i,  pp.  235-6. 
CoLLlcNoN,  Greek  Archa;ol.,  pp.   213-4. 
Ql  ARTKRI.Y  Rev.,  Vol.  154,  pp.  398-9. 
OvK.RBKCK,   Gcsth.    d.     Gr.    Plaslik  (3rd 

ed.),  \'ol.  2,  pp.   202-16. 


3.  The  Acropolis  of  Pergamon  ;  its  temples,  stoa 
and  battle  groups  ;  statue  of  the  Dying  Galatian  ;  groups 
of  Gallic  Warrior  and  Wife,  and  of  Heracles  freeine 
Prometheus. 


Mitchell,   Hist.   Anc.   Sculp.,  pp.  565-       H.xrkison,    Studies  in    Greek   Art,    pp. 

70,    592-3. — Century     Mag.,    Vol.    44,  29I-8. 

pp.  93-6.  OVKKHI.CK,    Gesrh.    d.    Gr.  Plastik    (3rd 

Perky,    Greek  and    Roman    Sculp.,   pp.  ed.),  Vol.  2,  pp.  216-30. 

5586.. 
Li;EiiKE,  Hist.  Sculp.,  Vol.  I,  pp.  244-7; 

Hist.  Art.,  Vol.  i,  \>\>.  236-8. 


26 


HISTORY  OF  SCULPTURE. 


4.  The  great  altar  at  Pergamon  :  its  construction  ; 
the  sculptured  friezes  and  statues  of  priestesses  and  gods  ; 
comparison  between  these  works  and  the  sculptures  of  the 
Parthenon. 


MiTciiKi.i.,  Hist.  .Vnc.  .Sculp.,  pp.  573- 
94  ;  Century  Mag.,  Vol.  25,  pp.  87-icx). 

Perry,  Greek  and  Roman  Sculp.,  pp. 
542-57  ;  Fortnightly  Rev.,  Vol.  36,  pp. 

337-45- 
MiRRAV,  Hist.  Creek  Sculp.,  Vol.  2,  pp. 

376-80. 
Rebkr,  Hist.  Anc.  Art,  pp.  347-8. 


Hakkiso.n,  Studies  in  Greek  Art,  pp.  298 

-310. 
Coi.i.iGNON,  Greek  Archneol.,  pp.  214-7. 
OVKRBFXK,     Gc'sc/i    d.    Gr.    Plastik   (3r(I 

ed.).  Vol.  2,  pp.  230-59. 
Bri'NN,     Die      Pergamenische     Giganto- 

machie. 


5.     The  school  of  Rhodes  :  circumstances  and  spirit 
of  the  Rhodian  people  ;  the  colossus  of  Rhodes. 


Mitchell,  Hist.  Anc.  Sculp.,  pp.  600-1. 
Perry,    Greek  and   Roman   Sculp.,   pp. 

518-20. 
Murray,  Hist.  Greek  Sculp.,  Vol.  2,  pp. 

358-9- 
LiEBKE,  Hist.  Sculp.,  Vol.  I,  pp.  232-3; 
Hist.  Art,  Vol.  i,  pp.  232-3. 


Reber,  Hist.  Anc.  Art,  p.  351. 
CoLLiGNON,  Greek  Archreol.,  pp.  218-9. 
Mueller,  Ancient  Art,  p.  129. 
Catholic  World,  Vol.  2,  pp.  544-5. 
OvERBECK,    Gesch.    d.    Gr.    Plaslik  (3rd 
ed.),  Vol.  2,   pp.  260-2. 


6.  The  Laocoon  group  :  its  subject  story ;  kinship 
to  the  Athena  group  of  the  Pergamon  frieze  ;  artistic 
merits  as  compared  with  those  of  this  group  and  of  that 
of  Niobe. 


Mitchell,  Hist.  Anc.  Sculp.,  pp.  601-6,  Winckklmann,   Anc.    Art,  Vol.    i.   pp. 

589.  338,  361  ;  Vol.  2.  pp.  228-32. 

Murray,  Hist.  Greek  Sculp.,  Vol.  2,  pp.  Reber,  Hist.   Anc.  Art,  pp.  351-3. 

362-7. 


IIISTOKV  OV  SCULPTURE. 


27 


Perrv,  Greek  and    Roman   Sculp.,   pp. 

520-7. 
Llehkk,  Hist.  Sctilp.,  Vol.   i,  pp.  233- 

7  ;  Hist.  Alt,  Vol.  i,  pp.  233-4  ;  Mon. 

Art,  Vol.  I,  PI.  19,  Text  pp.  74-5. 
Knight,  Pict.  Gal.   of  Arts,  Vol.  2,  111. 

p.  223,  Text  p.  262. 
Lessing.  Laocoon. 


jAkVEs,   Art   Thoughts,    pp.    61-2 ;    Art 

Idea,  pp.  52-4. 
Fi.AXMAN,  Lect.  on  Sculp.,  pp.  97,  233. 
Zekffi,  Hist.  Dev.  of  Art,  p.  207. 
Mi'ELLER,  Ancient  Art,  pp.  129-30. 
OvERBECK,    G^sc7i.  d.     Gr.    Plastik   (3rd 

ed.),  Vol.  2,  pp.  262-302. 


7.  The  group  of  the  Farnese  Bull ;  introduction  of 
the  pictorial  element  in  its  composition  ;  its  merits  as  a 
work  of  art ;  probable  connection  of  its  sculptors  with 
the  works  on  the  great  altar  of  Pergamon. 


MrrciiEi.i.,  Hist.  .Vnc.  Sculp.,  pp.  594-6. 
Perrv.    Greek  and    Roman   .Sculp.,    pp. 

528-32- 
Mlrkav,  Hist.  Greek  Sculp.,  Vol.  2,  pp. 

359-64- 
Ll'ehke,  Hist.  Sculp.,  Vol.  i,  pp.  237-9; 

Hist.    Art,   Vol.    i,   \>.   235;    Mon.  Art, 

Vol.  I,  PI.  18,  Text  p.  75. 
WiNCKELMANN,    Anc.    .Vrl,    Vol.     2,    pp. 

243-5- 


Fi.AXMAN,   Lecture  on  Sculpture,  pp.  97, 

233- 
Zerffi,  Hist.  Dev.  of  .\rt,  pp.  207-8. 
Reber,  Hist.  Anc.  Art,  i)p.  353-6. 
Mueller,  Anc.  .\rt,  p.  1 50. 
Westmacoti',  Handlmok  of  Sculp.,  pp. 

215  8. 
OVERBECK,    Gesch.    d.    Gr.    Plastik    (3rd 

ed.).  Vol.  2,  pp.  302-12. 


8.  The  Aphrodite  of  Melos  :  history  of  its  discov- 
ery ;  affinities  in  its  style  and  execution  v/ith  other  works 
of  art. 


MiTcllEi.i.,  Hist.  .\nc.  Sculj).,  pp- 596-9. 
Perrv,    Greek    and    Rom.in    Sculp,    pp. 

f)00-5. 
.MlKRAV,  Hist,  (ircek  .Sculp.,  Vol.  2,  ])p. 

275-7. 


Stillma.v,  On  tlie  Track  of  Uly.sscs,  etc., 
]ip.  75  106;  Century  Mag.,  Vol.  23, 
p|).  94-109;  Nation,  Vol.  15,  11.355, 
\'iil.  29,  ]).  400,  Vol.  32,  pp.  145. 

Lailkl,  Nation,  Vol.  18,  pp.  217-8. 


28  HISTORY  OF  SCULPTURE. 

Rydbkrg,  Roman  Days,  pp.  148-87.  Ati,.\ntic  Monthly,  Vol.  44,  pp.  435- 

Redford,  Anc.  Sculp.,  jip.  25S-9.  44. 

LUEBKE,   Hist,  Sculp.,  Vol.  I,  pp.  136-7.        OVKRBECK,    Gc'sih.    d.    Gr.    Plastik    (3id 

ed.).  Vol.  2,  pp.  329-43. 


9.  The  Apollo  Belvedere  :  history  of  the  discussion 
concerning  its  motif;  its  originality,  execution  and  resem- 
blance to  the  Pergamon  marbles  (a) ;  the  Artemis  of  Ver- 
sailles and  the  Athena  of  the  Capitol  (b). 

Mitchell,   Hist.   Anc.  Sculp,  pp.  621-7  LrKisKi:,  Hist.  Sculp.,  Vol.  i,  pp.  247-52 

(a,  b),  581-2  (b).  iT,,  1)1,  282   (b)  ;    Hist.  Art,  Vol.    i,  pp. 

Perry,  Greek   and   Roman   Sculp.,    pp.  238-40(3). 

6u-2o(a,  b).  CoLYLN,   Littell's  Living  Age,  Vol.    137, 

Mi'RR.'VY,  Hist.  Greek  Sculp.,  Vol.  2,  pp.  pp.  496-503  (a),  503-4  (b). 

371-3  (a).  Overbeck,    Gesch.    d.    Gr.    Plastik    (3rd 

Reber,  Hist.  Anc.  Art.,  pp.  356-8  (a,  b).  ed.),  Vol.  2,  pp.  318-28  (a,  b). 


10.  Sculpture  of  this  period  in  other  parts  of  Hellas: 
the  Nike  of  Samothrake  (a);  the  Nike  of  the  Vatican  and 
Tiber  of  the  Louvre  (b)  ;  the  statues  of  the  sleeping 
Ariadne  (c). 

Mitchell,  Hist.  Anc.   Sculp.,  pp.   358-  Luebke.  Hist.  Sculp.,  Vol.  i,  pp.  282(c), 

60(a);  607(b);  617(c).  289    (b);  Hist.   Art,  Vol.    I,   pp.  305-7 

MiRRAY,  Hist.  Greek  Sculp.,  Vol.  2,  pp.  (a,   b). 

373-5  (a)-  Overbeck,    GescJi.  d.    Gr.    Plastik   (3rd 

Perry,  Greek  and    Roman    Sculp.,  pp.  ed.),  Vol.  2,  pp.  314-7  (a). 
517  (b),  620-1  (c). 


HISTORY  OV  SCULPTURE.  29 

XII.— SCULPTURE  AMONG  THE  ROMANS ;  THE  GR^CO-ROMAN 

PERIOD. 


146    H.    f  .   —  312    A.     1). 

1.  The  national  traits  of  the  Romans,  religious, 
political  and  aesthetic,  as  compared  with  those  of  the 
Etruscans  and  Greeks. 

Mitchell,  Hist.  Anc.  Sculp.,  pp.  634-5,  Winckklman.n,  Anc.  Art,  Vol.     i,    pp. 

645,  654  5.  288  90. 

Pi-.KKV,   Greek    ami    Roman  Sculp.,    pp.  Jakvk.s,  Art  Thoughts,  pp.  32-3,  49-50. 

568-9,5745.  Lkckv,    European    Morals,   Vol.    i,    pp. 

Llkhke,  Hist.   Sculp.,  Vol.   i,  pp.  257,  176-7. 

272;    Hist.    Art,    Vol.    i,    pp.    258-60,  Mukller,  Ancient  Art,  pp.  161-3,165-8. 

271-5.  Wkstmacott,  Handbook  of  Sculp.,  pp. 

Zerki'i,  Hist.  I)ev.  of  Art,  pp.  228-45.  235-8. 

2.  Etruscan  sculpture,  and  Etruscan  art  contri- 
butions to  ancient  Rome  (a)  ;  extant  works  —  the  Wolf  of 
the  Capitol,  statue  of  Aulus  Metellus,  Boy  with  goose  at 
Leyden,  etc.  (b). 

MrrrHKLL,    Hist.   Anc.  .Scul]).,  ])p.  634-  Perkins,   Tuscan   Sculptors,  Vol.    i,  In- 

43  (a,  b),  644  5  (a).  troduction,  p)).  17-26  (a,  b). 

Pekkv,    (jreek    and    Roman   Sculji.,    ])p.  Rkkkk,  Hist.  Anc.  Art,  pp.  400-9  (b). 

566-70(3,   b).  MiKi.i.ER,  .\nc.  Art.,  pp.  145-50,  159-60 

LfEHKK,  Hist.  Scul]).,  Vol.  I,  pp.   263-71  (a);   151  (b). 

(a,  b);  Hist.   Art,    \'ol.    i,   \>\>.  260-70  (!i.i;(;il<)kN,     Ancient    and  Modern    Art, 

(a,!));  .Mon.  .\rt.   Vol.   i,   PI.  25,   Text  Vol.  1,  pp.  230-3. 

pp.  90  3.  Ki)iM!t'K(;ii    Rev.,  Vol.  90,   pp.    130-2, 

WiNf:KELMA.NN,  Anc.  .\rt,  Vol.  I,    p.  233  [Am.  ed.,  pp.  69  70]  (a). 
8,  252(b). 


30  IIISTt)RY  OF  SCULPTURE. 

3.  The  conquest  of  Greece  by  Rome  and  the  whole- 
sale confiscations  of  Greek  art  works;  importance  attached 
to  the  display  of  these  works  in  the  Roman  triumphal 
processions  (a)  ;  the  revival  of  Greek  sculpture  in  the 
service  of  Rome  (b). 

MiTCHEi.i.,  Hist.  Anc.  Sculp.,  pp.  645-9  Perkins,  Tuscan  Sculptors,  Introduction, 

(a),  656-7  (1)).  pp.  30-4  (a,  b). 

Pkrry,    Greek    and    Roman    Sculp.,  pp.  Mikm.kk,    Ancient  Art,    pp.    140-3  (a), 

571-5  (a,  b).  182(b). 

Reber,  Hist.  Anc.  Art,  pp.  358-61  (a,  b).  Westmacott,  Handbook  of  Sculp.,   pp. 

LfEBKE,  Hist.  Sculp.,  Vol.   I,  pp.  273-5  203-7,  211-2  (a),  213-4  (b). 

(a,  b);  Hist.  Art,  Vol.  i,  pp.  302-3  (a,  Liscomb,  Atlantic  Monthly,  Vol.  54,  pp. 

b).  163-72,  521-8  (a). 

GiHi,,  Greeks  and  Romans,  pp.  584-9  (a).  Histories  of  Greece. 


4.  Works  executed  in  Rome  by  Attic  artists:  the 
Belvidere  Torso,  Venus  di  Medici,  Germanicus,  Farnese 
Heracles,  Athena  of  Villa  Ludovisi,  \^aseof  Salpion,  Vase 
Sosibios,  Caryatid  by  Diogenes,  etc. 

MiTCHELi.,  Hist.   Anc.    Scidp.,   pp.  651-  Lleiske,  Hist.  Sculp.,  Vol.  i,  pp.  275-9; 

62.  Hist.  Art,  Vol.  i,  pp.  302-5  ;  Mon.  Art, 

Perry,   Greek    and   Roman    Sculp.,    pp.  Vol.  i,  I'l.  iS-19,  Text  pp.  72,  75. 

583-96.  Reiser,  Hist.  Anc.  Art,  pp.  362-3. 

Cox,  Eraser's  Mag.,   New   Ser.,    Vol.  25  Overbeck,    Gc-sih.    d.     Gr.    Plastik  (3rd 

(1882),  pp.  479-80.  ed.),   \'ol.  2,  pp.  ZT^-^l ■ 

5.  Asiatic  Greek  sculptors  in  Rome:  their  rank  as 
artists  and  extant  works  —  the  Borghese  Warrior,  Cen- 
taurs in  black  marble  by  Aristeas  and  Papias,  relief  of  the 
Apotheosis  of  Homer,  etc. 


HISTORY  OF  SCULPTURE.  31 

Mitchell,  Hist.  Anc.  Sculp.,  pp.  666  Luebkk,  Hist.  Sculp., Vol.  i,  pp.  279-80, 
-9.  287;  Hist.  Art, Vol.  I,  p.  305;  Mon.  .\rt. 

Perry,   Greek   and    Roman    Sculp.,  pp.  Vol.  i,    Pis.  18-19,  Text  pp.  73,  75-6. 

597-600,  605-10.  OvEKBECK,    Gesch.    d.    Gr.    Plastik    (3rd 

ed.).  Vol.  2,  pp.  397-411. 

6.  Archaistic  works  of  Pasiteles  and  his  school :  dis- 
tinction between  the  archaic  and  archaistic  in  art ;  extant 
works  traceable  to  this  school — the  Stephanos  Athlete  in 
the  Villa  Albani,  group  of  Orestes  and  Electra  in  Naples, 
and  group  by  Menelaos  in  the  Villa  Ludovisi,  etc. 

Mitchell,  Hist.  Anc.  Sculp.,  pp.  662-6.  Reber,  Hist.  Anc.  Art,  pp.  364-5. 

Perry,   Greek   and  Roman  Sculp.,   pp.       Mieller,  Anc.  Art.,  p.  183. 

622-9,  '35-7-  OVERBECK,    Gfsch.    d.    Gr.    Plastik  (3rd 

ed.).  Vol.  2,  pp.  411-25. 

7.  Varieties  and  importance  of  Roman  portrait 
sculpture,  and  its  merits  as  compared  with  the  Greek; 
classification  and  description  of  the  principal  examples  ex- 
tant—  the  various  statues  and  busts  of  Augustus  and  other 
emperors,  the  equestrian  statues  of  the  two  Balbi  at 
Naples  and  of  Marcus  Aurelius  at  Rome,  the  seated 
statues  of  the  elder  and  younger  Agrippina,  statues  of 
Livia  and  of  some  unknown  empress  as  Juno,  bust  of 
Clytie,  etc. 

Mitchell,  Hist.  Anc.  Sculp.,  pp.  644-5,  Perkv,    Cireek  and   Roman    .Sculp.,   ])p. 

670-1,6746,689.  645-58- 

Llebke,  Hist.   Sculp.,  Vol.    i,  pp.  282-  Mi  ellkr,  .Vncient  Art,  pp.  185-8,  196  6. 

5,293-4,299-300;  Hist.    Art,   Vol.    I,  Parker,  Archxol.  of    Rome,  Sculpture, 

pp.  307-12  ;  Mon.  .\rt.  Vol.  i.  Pi.  32  p]).  16-7;  Korum  Romanum,  PI.  17. 

3,  Text  pp.  114-7.  OVERKECK,    Gi-sch.    d.     Gr.   Plastik  (3rd 

Reber,  Hist.  Anc.  Art,  pp.  453-5  *-'''•)»  ^'"•-  '»  PP-  438-44.  445- 


32 


HISTORY  OK  SCULPTURE. 


8.  The  Antinous  statues :  the  story  of  Antinous ; 
peculiar  and  new  type  of  the  various  plastic  representa- 
tions dedicated  to  him  —  the  Antinous-Bacchus,  Antinous 
-Hermes,  Antinous-Mondragone,  Antinous  relief  of  the 
Villa  Albani,  the  San  Ildefonso  group,  etc. 


MlTCHKi.L,      Hist.      Anc.      Sculp.,     pp. 

686-7. 
Perry,  Greek  and  Roman    Sculp.,   pp. 

659  63. 
LuF.BKE,  Hist.  Sculp.,  Vol.  I,  pp.  287-9; 

Hist.  Art,  p.  307  ;  Mon.   Art,   Vol,  i, 

PI.  33,  Text  p.  116. 


Rvi)iu-.K(.,  Roman  Days,  pp.  188  208. 

MuKi.LER,  Ancient  Art,  pp.  I91-2. 

Symonds,  Sketches  and  Studies  in  South- 
ern Europe,  pp.  294-338. 

OvERHKCK,  Gesch.  d.Gr.  Flastik  {2)\d.  ed.). 
Vol.  2,  pp.  444-5- 

Levezow,  Ueher  d.  An/inous,  etc. 


9.  Roman  monumental  sculptures:  their  historic 
character,  and  development  independent  of  Greek  proto- 
types ;  the  introduction  of  perspective  into  the  sculptured 
reliefs  ;  description  of  extant  specimens  —  reliefs  from 
Augustus'  Altar  of  Peace,  of  the  arches  of  Titus,  Severus 
and  Constantine,  of  the  columns  of  Trajan,  Antoninus  Pius 
and  Marcus  Aurelius,  and  of  the  sarcophagi  of  the 
Capitol. 


Mitchell,  Hist.  Anc.  Sculp.,  pp.  671- 

4,  676-86,  688-93. 
Perky,   Greek   and   Roman   Sculp.,  pp. 

635  44- 
Reker,  Hist.  Anc.  Art,  pp.  455-63. 
Ll'EBKE,  Hist.    Sculp.,  Vol.  I,  pp.  293-7, 

300-8;  Hist.    Art,   Vol.    i,   pp.  312-9; 

Mon.  Art,  PI.  32-3,  Text  pp.  113-7. 
D'Agincourt,  Hist.  Art, Vol.  2,  Pis,  i,  2. 


Mui.LLKK,  Ancient  Art,  pp.  I90-1,  I96-8. 
MiDULETUN,  Ancient  Rome  in  1885,  pp. 

217  8,  274-81,  441-50. 
Parker,  Archreol.  of   Rome,  Sculpture, 

Pis.  i-io;  Via  Sacra,  Pis.  27,  28;  Forum 

Romanum,  Pis.  ID,  13-16,  38. 
OVERnr.cK,     Gesih.  d,   Gr.    Flastik    (3rd 

ed.),  Vol.  2,  pp.  445-54- 


HISTORY  OP^  SCULPTURE.  33 

10.  The  Victory  of  Brescia:  history  of  its  discovery; 
attitude  of  the  statue  as  compared  with  that  of  the  Aphro- 
dite of  Melos  and  of  the  Victory  of  Trajan's  column,  etc. 

Mitchell,  Hist.  Anc.  Sculp.,  pp.  684  Stillman,  Century  Mag.,  Vol.  23,  pp. 
-686.  102-103. 

11.  Genre  works  belonging  to  this  age:  the 
Fisherman  of  the  Vatican  (a);  Boy  strangling  a  Goose 
(b);  Thorn  extractor  (c);  Barberini  Faun  (d);  Group  of 
Wrestlers  at  Florence,  etc.  (e). 

Mitchell,  Hist.  Anc.  Sculp.,  pp.  611-4  Luebke,  Hist.  Sculp.,  Vol.  i,  pp.  225-7 
(a,  1),  c,  e),  616-7  (d).  (b,  c,  d),  293-40  (e). 

Perky,  Greek  and  Roman  Sculp.,  pp.  Overbeck,  O't'sc/i.  d.  Gr.  Plastik  (3rd 
563-5  (b,  c),  516(d).  ed.).  Vol.  2,    pp.    143-5  (b,   c).  328-9 

(d,  e). 


XIII.— THE  DEVELOPMENT  OF  CHRISTIAN  SCULPTURE,  CUL- 
MINATING IN  THE  PISAN  SCHOOL  OF  THE  THIR- 
TEENTH AND  FOURTEENTH  CENTURIES. 


RUDE  SYMBOLS,  CHURCH  ST.VTUARY  AND  RELIEFS  ON 
SARCOPH.VCI. 

I.  General  account  of  the  rude  sculptures  of  the 
early  Christian  centuries  (before  600  A.  D.)  ;  existing 
statues  and  reliefs  illustrating  these  sculptures  —  the  stat- 


34 


HISTORY  OF  SCULPTURE. 


ues  of  St.  Hippolytus  and  of  the  Good  Shepherd  in  the 
museum  of  the  Lateran,  and  of  St.  Peter  in  the  Church 
of  St.  Peter  (a)  ;  reHefs  on  the  Sarcophagi  of  Constantia, 
Helena,  Junius  Bassus,  etc.  (b),  and  on  the  episcopal 
chair  of  Maximianus  (c). 


Perkins,  Tuscan  Sculptors,  Vol.  i,  In- 
troduction, pp.  38-43  (a,  b);  Handbook 
Italian  Sculp.,  Introduction,  pp.  52-3 
(a,  b). 

LuEBKE,  Hist.  Sculp.,  Vol.  I,  pp.  335- 
46  (a,  b),  351-2  (c)  ;  Hist.  Art,  Vol.  I, 
pp.  372  4  (a),  378-9  (1)),  396-7  (c)  ; 
Mon.  Art, Vol.  i,  PI.  36,  Text  pp.  127-9 
(a,  b). 

Labarte,  Arts  of  the  Middle  Ages  and 
Renaissance,  pp.  1-3  (c). 

Enc.  Brit.  (9th  ed.).  Vol.  21,  pp.  556-7 
(a,  b  c). 

Mitchell,  Hist.  Anc.  Sculp  ,  p.  694(b). 

D'Agincourt.  Hist.  Art.  Vol.  2,  Pis.  3- 
4,  6  (a,  b). 


Reber,  Hist.  Mediaeval  Art,  pp.  103-10 
(a,  b),  112  (c). 

Crowe  and  Cavalcaselle,  Hist.  Paint- 
ing in  Italy,  Vol.  i,  pp.  38-40  (b). 

LiNDS.W,  Hist.  Christian  Art  (2d  ed.). 
Vol.  I,  pp.  225-34. 

Parker,  Archseol.  of  Rome,  Vol.  9, 
Early  Christ.  Sculp.,  by  Prof.  West- 
wood,  pp.  35-36  (a), 36-38  (b),  39-55, 
Pis.  12-19   i^)- 

Scott,  Sculpture,  Renaissance  and  Mod- 
ern, Introduction. 

WI:sT^^A.coTT,  Handbook  of  Sculp.,  pp. 
246-7. 

Cheney,  Gleanings  in  the  Fields  of  Art, 
pp.  61-9. 


2.  Influence  of  the  Byzantine  style  upon  the  devel- 
opment of  sculpture  in  Italy  (600-1240  A.  D.);  the  Coma- 
cini  and  Antelami  —  character  of  their  works  as  seen  in 
the  reliefs  of  the  "Baptism"  over  portal  of  Monza  Cathe- 
dral, of  the  "Deposition"  in  Parma  Cathedral,  and  in  the 
sculptures  at  Cividale  and  on  the  facade  of  San  Zeno, 
Verona. 


Perkins,  Italian  Sculptors,  pp.  94-100; 
Tuscan  Sculptors,  Vol.  i.  Introduction, 
pp.  44-8,  49-51,  53;  Handbook  Italian 


Sculp.,  Introduction,  pp.  9-13,   17-19, 
21-22. 


HISTORY  OF  SCULPTURE. 


35 


LuKBKE,  Hist.  Sculp.,  Vol.  I,  pp.  351-3, 

397-400. 

Scott,  Renaissance  of  Art  in  Italy,  pp. 
21-3  ;  Ghiberti  and  Donatello,  pp. 
2-4,  7-8;  Sculp.,  Renaissance  and 
Modern,  Pt.  i,  pp.  1-9. 


Enc.  Brit.  (9th  ed.).  Vol.  21,  p.  567. 
Reber,  Hist.  Med.  Art,  pp.  464-7. 
D'Agincourt,  Hist.  Art,  Vol.  2,  PI.  26. 
Lindsay,  Hist.  Christian  Art  (2d  ed.). 

Vol.  I,  pp.  239-40,  264-6,  322-7. 
Rusk  IN,  Val  d'Arno,  pp.  4-7. 


3.  Works  in  metal  of  this  period  in  Italy  :  the 
bronze  doors  of  San  Zeno,  Verona,  of  the  cathedrals  of 
Pisa  and  Monreale,  and  of  the  various  churches  of 
southern  Italy  (a);  the  altar  of  San  Ambrogio,  Milan  (b); 
the  Pala  d'Oro,  Venice  (c). 


Pkrki.ns,  Tuscan  Sculptors,  Vol.  i,  Intro- 
duction, pp.  52-4  (a,  b);  Italian  Sculp- 
tors, pp.  214,  1 17-8,  32-5  (a),  102  (b); 
Handbook  Italian  Sculp.,  pp.  21-2, 
14-5.  42-3  (a,  b). 

LuEBKK,  Hist.  Sculp.,  Vol.  I,  pp.  356 
(1)),  406-8  (a);  Hist.  Art,  Vol.  i,  pp. 
562-41   (a). 

D'Agincourt,  Hist.  Art,  Vol.  2,  Pis. 
26-26C  (b;. 

Bellomo,  Pala  d'Oro  di  S.  Marco  (c). 

Lacroix,  Arts  in  the  Middle  Ages,  pp. 
127-8  (b). 


Labarte,  Arts  of  the  Middle  Ages  and 
Renaissance,  pp.  210-1  (b). 

Crowe  and  Cavai.caseli.e,  Hist.  Paint- 
ing in  Italy,  Vol.  i,  pp.  129-30  (a). 

Reber,  Hist.  Med.  Art,  pp.  469-72  (a,c). 

Lindsay,  Hist.  Christian  Art  (2d  ed.). 
Vol.  I,  pp.  274-6. 

Scott,  Renaissance  of  Art  in  Italy,  ])p. 
79-82  (a,  c)  ;  (jhiberti  and  Donatello, 
pp.  6-7  (a). 

Enc.  Brit.,  (9th  ed.)  Vol.  16,  pp.  74-5, 
760  (a,  b,  c). 


4.  Niccola  Pisano,  the  great  restorer  of  sculpture  in 
Italy  (1206?- 1 2  78);  question  as  to  his  Tuscan  or  Apulian 
origin,  and  as  to  the  influences  which  determined  his  style; 
his  principal  works  —  the  "Deposition"  over  portal  of 
Lucca  Cathedral,  the  pulpits  for  the  Baptistery  of  Pisa  and 
the    Cathedral   of   Siena,  the  Area  di  San  Domenico  at 


36 


HISTORY  OF  SCULPTURE. 


Bologna  and  the  Fountain  at  Perugia  (a) ;  comparison  be- 
tween his  pulpits  and  the  pulpit  at  Ravello  (b). 


Perkins,  Tuscan  Sculptors,  Vol.   i,  pp. 

8-25,     34-6     (a);     Handbook     Italian 

Sculp.,  pp.  3-22  (a). 
CR(nvE  and  Cavai.casselle,  Hist.  Paint- 
ing in   Italy,  Vol.   i,  pp.    122-8,   130, 

132-41  (a),  128-9  (t*)- 
LuEBKE,  Hist.  Sculp.,  Vol.  2,  pp.  111-7 

(a),  121-2  (b);  Hist.  Art,  Vol.   1,  pp. 

564-7  (a);    Mon.  Art,  Vol.    1,  PI.  48, 

Text  pp.  159-60  (a). 
DWgincourt,  Hist.  Art, Vol  i,  PI.  32  (a). 
Enc.  Brit.  (9lhed.)Vol.  19,  pp.  i23-4(a). 
Symonds,     Renaissance     in    Italy,    pp. 

100  9(a),  507-11  (b). 
Norton,  Church  Building  in  the  Middle 

Ages,  pp.  126-34  (a). 
Yriarte,  Florence,  pp.  185-6,  237-4o(a). 
Hare,  Cities  of  Northern    and    Central 

Italy,    Vol.    2,    pp.    282-3,    451   3    (a); 

Cities  of  Southern  Italy,  p.  236  (b). 


Vasari,  Lives   of  the    Painters,  Vol.   i, 

pp.  60-7  (a). 
Reber,  Hist.   Med.  Art,  pp.  632-5    (a), 

468-9  (b). 
Scott,  Renaissance  of  Art  in  Italy,  pp. 

24-9  ;  Ghihcrti  and  Donatello,  pp.  10- 

21  (a),  12  (b)  ;  Sculp.,  Renaissance  and 

Modern,  Pt.  1,  pp.  10-21. 
Lindsay,  Hist.  Christian   Art   (2d  ed.). 

Vol.  I,  i)p.  357-65. 
RusKl.N,  Val  d'.\rno,  pp.  7-13,  126. 
Westmacott,  Handbook  of  Sculp.,  pp. 

257-61. 
Harford,  Life  of  Michael  Angelo  Boun- 

arroti.  Vol.  1,  pp.  1 10  6. 
Bianciardi,  Harper's  Mag.,  Vol.  56,  pp. 

657-9  (a). 
Edinburgh   Rev.,  Vol.   121,  pp.  522-6, 

[Am.  ed.,  pp.  264-7]. 
DoHME,    Kunst   tind  Kunstler    Italiens, 

Vol.  3,  No.  40,  pp.  1-30  (a). 


5.  Giovanni  Pisano,  the  originator  of  the  dramatic 
and  romantic  style  in  sculpture  (i 250-1 330):  his  allegor- 
ical group  of  "Pisa";  his  pulpit  in  S.  Andrea  at  Pistoja, 
tomb  of  Benedict  XI,  various  statues  of  the  Madonna  and 
Child,  etc. 


Perkins,  Tuscan  Sculptors,  Vol.   i,   pp. 
37-51  ;    Handbook  Italian  Sculp.,  pp. 

27-34- 
LuEBKE,  Hist.  Sculp.,  Vol.  I,  pp.  123-7; 

Hist.  Art,  Vol.  2,  pp.  94-7  ;  Mon.  Art, 

Vol.  1,  PI.  48,  Text  p.  196. 
Enc.  Brit.  (9th  ed.).  Vol.  19,  j)p.  122-3. 


D'Agincourt,  Hist.  Art,  Vol.  2,  PI.  32. 

Symonds,  Renaissance  in  Italy,  pp.  110- 
16. 

NcjRTON,  Church  Building  in  the  Aliddle 
Ages,    pp.    137-40. 

Crowe  and  Cavai.casei.i.e,  Hist.  Paint- 
ing in  Italy,  Vol.  1,  ])p.  142-52. 


HISTORY  OF  sculpture: 


37 


Reber,  Hist.  Med.  Art,  pp.  635-8. 

Scott,  Renaissance  of  Art  in  Italy,  pp. 
29-35  ;  Ghiberti  and  Donatello,  pp. 
22-31  ;  Sculp.,  Renaissance  and  Mod- 
ern, Pt.  I,  pp.  22-31. 

Vasari,  Lives  of  the  Painters,  Vol.  i, 
pp.  67-77. 


Lindsay,  Hist.  Christ.  Art  (2d  ed. ),  Vol. 

I,  pp.  366-70. 
RUSKIN,  Val  d'Arno,  pp.    14-27,  139-44, 

Pis.  8,  10,  12. 
Edinburgh  Rev.,  Vol.  121,  pp.  526-8, 

(Am.  Ed.,  pp.  267-8). 
DoHME,  Kiinsttmd Kunstler  ItaHens,\o\. 

3,  No.  40,  pp.  33-7. 


6.  Andrea  Pisano  (i 270-1348):  his  famous  bronze 
gates  for  the  Baptistery  of  Florence;  comparison  between 
them  and  the  doors  executed  in  the  twelfth  century,  by 
Bonannus,  for  the  Duomo  of  Pisa;  other  works  by  Andrea 
—  the  reliefs  for  Giotto's  Campanile  and  of  the  Madonna 
and  Child  for  the  Bigallo,  etc. 


Perkins,  Tuscan  Sculptors,  Vol.  i,  pp, 
63  70  ;  Handbook  Italian  Sculp.,  pp. 

35-8. 

LuEBKE,  Hist.  Sculp., Vol. 2,  p.  129;  Hist. 
Art,  Vol.  2,  pp.  97-98;  Mon.  Art,  Vol.  I, 
PI.  61,  Text  p.  197. 

Enc.  Brit.  (9th  ed.).  Vol.  19,  p.  122. 

Yriarte,  Florence,  pp.  240-1. 

Symonds,  RenaissanC'C  in  Italy,  pp. 
119-23. 

Crowe  and  Cavai.casei.i.e,  Hist.  Paint- 
ing in  Italy,  Vol.  2,  pp.  343-8. 

Reber,  Hist.  Med.  Art,  pp.  639,  641. 


D'Agincourt,  Hist.  Art,  Vol.  2,  PI.  35. 
Scott,  Renaissance  of  Art  in  Italy,  pp. 

39-40 ;    Ghiherti    and   Donatello,  pp. 

38-41;  Sculp.,  Renaissance  and  Mod- 
ern, Pt.  I,  pp.  38-41. 
Vasari,  Lives  of  the   Painters,  Vol.    1, 

pp.  144-54- 
Lindsay,  Hist.  Christian   Art  (2d  ed.), 

Vol.  I,  pp.  371   5. 
Edinburgh  Rkv.,  Vol.    121,   pp.   527-9 

(Am.  ed.,  pj).  26S-9). 
Don  ME,    Kunst  und    KVtiistler   J  la  liens. 

Vol,  3,  No.  40,  pp.  37  9. 


7.  The  celebrated  scholars  of  Andrea  Pisano — Or- 
cagna  (1316-1376?)  ;  his  wonderful  Tabernacle  in  the 
church  of  Or  San  Michele,  Florence  (a)  ;  Nino  Pisano 
and  his  Madonna  della  Rosa  (b)  ;    Balduccio  di  Pisa  and 


147346 


38 


HISTORY  OF  SCULPTURE. 


the  shrine  of  St.  Peter  Martyr  in  the  church  of  St.  Eus- 
torgio,  Milan  (c). 


Perkins,  Tuscan  Sculptors,  Vol.  i,  pp. 
70-83  (a,  1),  c) ;  Handbook  Italian 
Sculp.,  pp.  38-44  (b,  c),  45-50  (a). 

Crowe  and  Cavai.casei.i.k,  Hist.  Paint- 
ing in  Italy,  Vol.  i,  pp.  425-9,  440-2 
(a). 

Yriarte,  Plorence,  pp.  220-4  (^)' 

Luebke,  Hist.  Sculp.,  Vol.  2,  pp.  129-30 
(b),  131-2  (a),  138-9  (c)  ;  Hist.  Art, 
Vol.  2,  pp.  98-iQO  (a,  c). 

D'Agincour T,  Hist.  Art,  Vol.  2,  Pis.  34- 
5  (b,  c). 

Horner,  Walks  in  Florence,  Vol.  i,  pp. 
214-7  (a). 


Enc.  Brit.  (9th  ed.), Vol.  17,  pp.  8i4-6(a). 
Seen"!',  Ghiherti  and  Donalello,  pp.  41- 

3  (b),  44-7  (c);  Sculp.,  Renaissance  and 

Modern,  Pt.  i,  pp.  41-3  (b),  44  7  (c). 
Vasari,  Lives    of  the   Painters,  Vol.  1, 

pp.  204-18  (a). 
Lindsay,    Hist.    Christian  Art   (2d  ed), 

Vol  I,  pp.  375-9  (a). 
Edinburgh  Rev.,  Vol.   121,  pp.  529-30, 

(Am.  ed.,  p.  269). 
DoiiME,    Ktinst    tind   Kilnstler  Ita liens. 

Vol.  3,  No.  40,  pp.  40-2  (a). 


8.  Influence  of  the  Pisan  school  upon  the  develop- 
ment of  sculpture  in  the  north  of  Italy;  the  Area  di  Sant' 
Agostino,  Pavia  (a);  the  Tombs  of  the  Scaligers, 
Verona  (b). 


Perkins,  Italian  Sculptors,  pp.  109-10 
(a),  I12-4  (b);  Handbook  Italian 
Sculp.,  pp.  41-2  (a),  43  5  (b). 

Luebke,  Hist.  Sculp.,  Vol.  2,  pp.  137, 
141  2  (a,  b). 


Lindsay,  Hist.  Christian  Art  (2d  ed.). 
Vol.  I,  pp.  381   2  (a),  370-1  (h). 

Stkki-.t,  Brick  and  Marble  in  the  Middle 
Ages,  98-104  (b). 

Hari".,  Cities  of  North,  and  Cent.  Italy, 
Vol.  I,  pp.  173-4  (a),  272-8  (b). 


9.  The  Sienese  school  of  sculpture  and  the  influence 
of  the  Pisani  upon  its  development;  the  reliefs  upon  the 
fagade  of  Orvieto  Cathedral  (a);  Jacopo  della  Quercia 
and  his  works  (b). 


HISTORY  OF  SCULPTURE. 


39 


Perkins,  Tuscan  Sculptors,  Vol.  i,  pp. 
85-94  (a),  103-11  (b);  Handbook  Italian 
Sculp.,  pp.  51-7  (a),  60-5  (b). 

Scott,  Renaissance  of  Art  in  Italy,  pp. 
1 1 5-7  ;  Sculp.,  Renaissance  and  Mod- 
ern, Pt.  I,  pp.  91-8  (a),  102-9  (^)  > 
Luca  della  Robbia,  pp.  91-8  (a),  102 

-9  (b). 
LuKBKE,  Hist.   Sculp.,  Vol.  2,  pp.  123-5 

(a),  155-7  (b). 
D'Agincourt,  Hist.  Art, Vol.  2,  P1.33(l)). 
Yriarte,  Florence,  p.  243  (b). 


H.\RE,  Days  Near  Rome,  pp,  121-5  (a); 

Cities  of  North,  and  Cent.  Italy,  Vol. 

3,  p.  256(b);  Vol.  2,  p.  496  (b). 
V.\s.\ri,  Lives  of  the  Painters,  Vol.    i, 

pp.  313-21  (b). 
Symonds,    Renaissance     in     Italy,    pp. 

1 16-8  (a). 
D'Aoi.NCurKT,    Hist.    Art,  Vol.    2,    Pis. 

35.  38  (b). 
LiNDS.w,  Hist.  Christian   Art  (2d  ed.). 

Vol.  I,  pp.  379-81  (a),  382-4  (b). 
Edinburgh  Rev.,  Vol.  121,  pp.  531-4, 

(Am.  ed.,  pp.  62). 


XIV.— THE    FLORENTINE    SCHOOL    OF    SCULPTURE    OF    THE 
FIFTEENTH   CENTURY. 


PICTORIAL  RELIEFS  IN  BRONZE,   MARBLE  AND  TERRA-COTTA. 

I.  Causes  of  the  early  prominence  and  influence  of 
the  goldsmith's  art  in  Italy,  and  of  its  association  with 
the  other  arts  during  the  fifteenth  century. 

Scott,  Sculp.,  Renaissance  and  Modern,        Taink,  I'lorence  and  Venice,  pp.  Ii6-g, 
Pt.    I,    pp.   51-3  ;  (jhiberti  and  Dona-  209-10. 


tello,  pp.  52-3. 
Symonds,  Renaissance  in  Italy,  pp.  80, 
126-7. 


Scott,  Fine  Arts,  pp.  148  52,  156-7. 
Lahaktk,    Arts    of    Middle    Ages    and 

Renaissance,  pp.  236  7. 
Perkins,  IIandl>()ok  Italian  Sculp.,  j).  75. 


2.  Lorenzo  Ghiberti  (1378- 1455)  ^"^  ^^^^  influences 
which  determined  his  new  and  peculiar  style  ;  history  of 
the  production  of  his  two  famous  sets  of  bronze  gates  for 


40 


HISTORY  OF  SCULPTURE. 


the  Baptistery  of  Florence  ;  subjects  and  character  of 
their  panel  reliefs  ;  comparison  between  these  reliefs  and 
those  on  the  gate  executed  by  Andrea  Pisano  ;  his  other 
works  —  the  Area  di  San  Zenobio,  etc. 


Perkins,  Tuscan  Sculptors,  Vol.  i,  pp. 
122-37  ;  Handbook  Italian  Sculp.,  pp. 

73-87- 

Scott,  Renaissance  of  Art  in  Italy,  pp. 
105-11  ;  Sculp.,  Renaissance  and  Mod- 
ern, pp.  54-69 ;  Ghiberti  and  Dona- 
tello,  pp.  54-69. 

Crowe  and  Cavai.caselle,  Hist.  Paint- 
ing in  Italy,  Vol.  2,  pp.  273-6. 

Ja.meson,  Memoirs  Italian  Painters  (Am. 
ed.),  pp.  64-74. 

Yriarte,  Florence,  pp.  204-6,  244-5. 

Symonds,     Renaissance     in     Italy,     pp. 

I27-3S- 
LuEBKE,  Hist.  Sculp.,  Vol.  2,  pp.  158-63  ; 
Hist.  Art,  Vol.  2,  pp.  186-8  ;  Mon.  Art, 
pi.  65,  text  pp.  204-5. 


D'Agincourt,    Hist.    Art,  Vol.    2,    pis. 

41-2. 
Oi.IPIIAnt,    Makers     of    Plorence,     pp. 

132-6. 
Norton,  Church  Building  in  the  Middle 

Ages,  pp.  236-9,  265-6. 
Grimm,  Life  M.  Angelo,  Vol.  i,  pp.  32-6. 
\'asari,  Lives  of  the  Painters,  Vol.  i,  pp. 

361-87. 
Horner,  Walks  in  Florence,  \'ol.  i,  pp. 

29-35- 
Westmacott,  IIandl)ook  of  Sculp.,  pp. 

266-70. 
Harper's  Mag.,  Vol.  65,  pp.  91-8. 
Edinburgh  Rev.,  Vol.   121,   pp.  534-8, 

(Am.  ed.,  pp.  271-4). 
Dohme,    Kunst    tend   Ku7istler   /(aliens. 

Vol.  3,  No.  46,  pp.  57-76. 


3.  Donatello  (1386- 1466),  the  greatest  of  Italian 
relief  sculptors  :  account  of  his  life  and  characteristics  of 
his  style  ;  his  principal  works  — the  statues  of  St.  George, 
II  Zuccone,  David,  Judith  and  Holofernes^  etc.,  the  tombs 
of  Pope  John  XXIII.  and  of  Cardinal  Brancacci,  the  various 
reliefs  for  the  churches  of  Florence  and  Padua  and  for  the 
pulpit  of  Prato,  the  equestrian  statue  of  Gattamelata  at 
Padua ;  comparison  between  the  reliefs  executed  by 
Donatello  and  those  of  the  Pheidian  period  in  Greece. 


HISTORY  OF  SCULPTURE.                                           41 

Perkins,  Tuscan  Sculptors,  Vol.    i,  pp.  Oliphant,  Makers  of  Florence,  pp.  138- 

137-60;  Handbook  Italian  Sculp.,  pp.  40,  146-51. 

87-107.  J.\MESo.v,   Hist.   Our  Lord,  Vol.   2,    pp. 

Crowe  and  Cavalcaselle,  Hist.  Paint-  229-30. 

ing  in  Italy,  Vol.  2,  pp.  276-82.  Vasari,  Lives  of  the  Painters,  Vol.  i,  pp. 

Scott,  Renaissance  of  Art  in  Italy,  pp.  469  93. 

1 1 1-5;  Sculp.,  Renaissance  and  Mod-  D'Agincourt,  Hist.  Art,  Vol.  2,  PI.  38. 

ern,  Pt.    I,   pp.   70-89;    Ghiberti    and  Westmacott,  Handbook  of  Sculp.,  pp. 

Donatello,  pp.  71-89.  270-5. 

LuEBKE,  Hist.  Sculp.,  Vol.  2,  pp.  163-9;  Co.x,  Kenyon,   Century  Mag.,  Vol.29, 

Hist  Art,  Vol.  2,  pp.  190-3  ;  Mon.  Art,  pp.  62-6. 

Vol.  2,  pis.  65-6,  text  pp.  205,  207.  EniNBUHGH  Rev.,  Vol.  121,  pp.  538-40, 

Yriarte,  Florence,  pp.  88-9,225,245-9.  (•\m.  Ed.,  pp.  274-5). 

Symonds,     Renaissance     in     Italy,    pp.  Dohme,    Kunst    tntd   Kiinstler   Italiens, 

136-42.  Vol.  3,  No.  46,  i)p.  57-76. 

Semper,  Dotiatelh,  seine  Zeit  und  Schttle, 


4.  Luca  della  Robbia  (1400- 1482):  his  new 
departure  in  art,  the  invention  of  the  famous  Robbia 
ware  ;  his  marble  reliefs  on  the  Campanile  and  of  the 
Singing  Boys  for  the  Duomo,  Florence ;  the  works  of 
Luca  and  his  pupils  in  glazed  terra-cotta  —  the  reliefs  of 
the  "Resurrection"  and  "Ascension"  in  the  Duomo,  the 
various  altar  pieces  and  reliefs  of  the  Madonna  and  Child, 
the  tomb  of  Bishop  Federighi,  the  medallions  for  Or  San 
Michele  and  the  hospital  of  the  Innocents,  the  vaulted 
ceilings  of  San  Miniato  and  S.  Croce,  the  reliefs  of  the 
"Seven  Acts  of  Mercy"  at  Pistoja,  etc. 

Perkins,  Tuscan   Sculptors,  Vol.    I,   pp.  Sculp.,   Renaissance   and    Modern,   Pt. 

192-200;     Handbook    Italian    Sculp.,  2,  ])]>.  32-44. 

pp.  139  46.  LiriHKK,    Hist.    Sculp.,  Vol.    2,  ]ip.    169- 

Scott,  Luca  della    Rolibia,    pp.   33-44;  75;     Hist.    Art,    Vol.   2,    pp.    iSS  yo ; 

Renaissance  of  Art  in  Italy,  pp.  315-6  ;  Mon.   Art,  Vol.   2,  pi.  66,   text  p.   206. 


42 


HISTORY  OF  SCULPTURE 


Yriarte,  Florence,  pp.  237,  256-9. 
Oliphant,     Makers    of     Florence,    pp. 

155-62. 
Symonps,    Renaissance     in     Italy,     pp. 

148-51. 
Pater,  Renaissance,  pp.  68-77. 


Vasari,  Lives  of  the  Painters,  Vol.  i,  pp. 

335-48. 
Wkstmacott,  Handbook  of  Sculp.,  pp. 

262-6. 
Harper's  Mag.,  Vol.  60,  pp.  692-9. 
DoHME,    Kttnst   tind   Kxlnstler   Italiens, 

Vol.  3,  No.  47,  pp.  3-14. 


5.  Pollajiiolo  and  Verocchio:  their  rank  as  sculp- 
tors and  most  important  works  —  the  reHef  of  the  Cruci- 
fixion, monuments  of  Popes  Sixtus  IV.  and  Innocent 
VIII.,  etc.,  by  Pollajuolo  (a) ;  the  tomb  of  Piero  and  Gio- 
vanni de'  Medici,  statue  of  David,  equestrian  statue  of 
Coleoni,  etc.,  by  Verocchio  (b);  the  great  silver  altar  of 
the  Baptistery  of  Florence  and  its  famous  reliefs,  exe- 
cuted by  Pollajuolo,  Verocchio  and  other  artists  (c). 


Perkins,  Tuscan  Sculptors,  Vol.    i,  pp. 

223-7  (^>  ^)'  I75'^84  (h,  c)  ;    Handbook 

Italian  Sculp.,  pp.  1 14-6  (a,  c),  131-6 

(b,  c). 
Yriarte,  Florence,  pp.  265-9  (*)>  4^7. 

223,  254-6  (b),  196-7,  200  (c). 
Scott,  Luca  della  Robbia,  pp.  9-1 7  (b,  c); 

Renaissance  of  Art  in  Italy,  pp.  126-S; 

Sculp.,  Renaissance   and   Modern,   Pt. 

2.  pp.  9-17  (b,  c). 
Llebke,  Hist.  Sculp.,  Vol.  2,  pp.  176-9 

(a,  b);     Hist.    Art,  Vol.    2,    pp.    193-5 

(a,  b) ;  Mon.  Art,  pi.  66,  text  p.  206(b). 
D'Agincourt,  Hist.  Art,  Vol.  2,  pi.  38(b). 


Labarte,  Arts  of  the  Middle  Ages  and 

Renaissance,  pp.  247-8  (c). 
Vasari,  Lives  of  the  Painters,  Vol.  2,  pp. 

220-30  (a),  249-62  (b). 
Crowe  and  Cavai.caselle,  Hist.  Paint- 
ing in  Italy,  Vol.  2,  pp.  400-6  (b). 
Symoxds,  Renaissance  in  Italy,  pp.  141-4 

(b),  145-8  (a). 
Westmacott,  Handbook  of  Sculp.,  pp. 

276-7  (b). 
Edinburgh  Rev.,  Vol.  121,   pp.   541-2, 

(Am.  ed.,  pp.  275-6). 
DoHME,    Kunst  unci    KibtstUr   Italiens, 

Vol.  3,  No.  53,  pp.  3-24. 


6.     Mino    da    Fiesole,    "the    Fra    Angelico    among 
sculptors,"  (1431-1484):     his  portrait    busts  of   eminent 


HISTORY  OF  SCULPTURE. 


43 


personages,  tomb  and  altarpiece  for  bishop  Salutati  in 
the  Duomo  at  Fiesole,  works  in  the  Badia  at  Florence, 
tabernacles  at  Rome,  Volterra,  etc. 


Perkins,  Tuscan   Sculptors,  Vol.    i,  pp. 

207-14;  Handbook  Italian  Sculp.,  pp. 

146-51. 
Scott,  Renaissance  of  Art  in  Italy,  pp. 

121,   123-5;    Sculp.,   Renaissance    and 

Modern,  Pt.  2,  pp.    i   7  ;    Luca    della 

Robbia,  pp.  1-7. 
Yriarte,  Florence,  pp.  25,  264-5. 
LuEBKE,  Hist.  Sculp.,  Vol.  2,  pp.  182-4. 


Symo.nds,     Renaissance     in    Italy,    pp. 

158-9. 
Vasari,  Lives  of  the  Painters,  Vol.  2,  pp. 

139-46. 
Edinburgh  Rev.,  Vol.   121,  pp.   543-5, 

(Am.  Ed.,  pp.  276-7). 
DoHME,    Kunst   tmd   Kilnstler   Italienst 

Vol.  3,  No.  47,  pp.  47-52. 


7.  Benedetto  da  Majano,  intarsiatore  and  sculptor, 
(1442 -1 497)  :  affinities  between  his  style  and  that  of 
Ghiberti ;  his  principal  works  —  the  pulpit  of  b.  Croce, 
bust  and  tomb  of  Filippo  Strozzi,  shrine  of  San  Savino 
at  Faenza,  sculptures  at  San  Gimignano,  etc. 


Perkins,  Tuscan  Sculptors,  Vol.  i,  pp. 
227-34;  Handbook  Italian  Sculp.,  pp. 

153-8- 

Scott,  Renaissance  of  Art  in  Italy,  pp. 
125-6;  Sculp.,  Renaissance  and  Mod- 
<^rn,  Pt.  2,  pp.  45-51  ;  Luca  della  Rob- 
bia, pp.  45-51- 

Yriarte,  Florence,  pp.  260-3. 


LuEBKE,  Hist.  Sculp.,  Vol.  2,  pp.  184-6; 

Hist.  Art,  Vol.  2,  pp.  195-6. 
Symonds,    Renaissance     in     Italy,     pp. 

160- 1. 
Vasari,    Lives  of  the    Painters,  Vol.    2, 

pp.  240-9. 
DoHME,    Kunst    unci    fCi'tnstler   Italiens, 

Vol.  3,  No.  47,  pp.  39-47. 


8.  Important  Tuscan  monuments  of  this  period  — 
the  tombs  of  Leonardo  Bruni  in  S.  Croce  by  Bernardo 
Rossellino  (a),  of  Cardinal  Jacopo  of  Portugal  in  San 
Miniato  by   Antonio   Rossellino  (b),  and  of  Marsuppini 


44  HISTORY  OF  SCULPTURE. 

in  S.  Croce  by  Desiderio  da  Settignano  (c)  ;    other  works 
of  these  artists. 

Perkins,  Tuscan    Sculptors,  Vol.   i,  pp.  Yriarte,     Florence,     pp.     125,    259-60 

202-5  (a),  205-7  (b),  173-5  (c) ;  Hand-  (a,  b),  128-9,  253-4  (c). 

book  Italian  Sculp.,  pp.  n 9-23  (a,  b,c).  Luebke,   Hist.   Sculp.,  Vol.  2,  pp.  180-2 

ScOTT,  Renaissance  of  Art  in  Italy,  pp.  (a,  c). 

120-I   (b),   122  3  (c) ;   Sculp.,   Renais-  Symonds,     Renaissance     in     Italy,     pp. 

sance  and  Modern,  Pt.  i,  pp.  94-6  (c),  ^53  5  (b),  159-60  (c). 

Pt.  2,    pp.   26-31    (a,  b) ;    Luca   della  Vasari,  Lives  of  the  Painters,  Vol.  2,  pp. 

Robbia,    pp.    26-31    (a,    b) ;    Ghiberti  128-39  (a,  b,  c). 

and  Donatello,  pp.  94-6  (c). 


XV.— SCULPTURE  .OF   THE   FIFTEENTH   CENTURY  IN    UPPER 

ITALY. 


1.  Matteo  Civitali  of  Lucca  (1435-1501)  :  impor- 
tance of  his  works  —  the  marble  temple  of  the  Volto 
Santo,  tomb  of  Pietro  da  Noceto  and  altar  of  St.  Regu- 
lus  in  the  Duomo  of  Lucca,  the  statues  for  the  chapel  of 
St.  John  in  Genoa,  statue  of  Faith  in  Florence,  etc. 

Perkins,  Tuscan  Sculptors,  Vol.    i,  pp.  Lueuke,  Hist.  Sculp.,  Vol.  2,  pp.  186-7. 

214-7;    Handbook  Italian  Sculp.,  pp.  Symonds,     Renaissance    in     Italy,     pp. 

151-3.  156-8. 

Scott,  Renaissance  of  Art  in  Italy,  pp.  Hare,  Cities  of  North,  and  Cent.  Italy, 

117-9;  Sculp.,  Renaissance  and    Mod-  Vol.  2,  pp.  494  5. 
ern,  Pt.  2,  pp.  18-20 ;  Luca  della  Rob- 
bia, pp.  18-20. 

2.  The  Certosa  at  Pavia,  the  most  magnificent 
monastery    in    the   world :     its   sculptured   faoade,    por- 


HISTORY  OF  SCULPTURK  45 

tals,   monuments,  altars,  etc.  ;    influence  of  these  works 
upon  the  development  of  sculpture  in  upper  Italy. 

Perkins,  Handbook  Italian  Sculp.,  pp.  Street,    Brick   and   Marble   in   Middle 

176-8,  182-4.  Ages,  pp.  282-5. 

LuEBKE,  Hist.  Sculp. , Vol.  2,  pp.  206-13  ;  ScoiT,  Renaissance  of  Art  in  Italy,  pp. 

Hist.  Sculp.,  Vol.  2,  pp.  200  I.  100-2. 

Symonds,    Renaissance    in     Italy,     pp.  Cartwright,  Mag.  of  Art,  Vol.  6,  pp. 

164-5.  441-6;  Vol.  7,  pp.  45-50- 

Hare,  Cities  of  North  and  Cent.  Italy,  Mirray,    Handbook,    North   Italy,  pp. 

Vol.  I,  pp.  167-72.  216-22. 
Gruner,  Terra-Cotta  Arch.,  pp.  47-52, 

Pis.  29-33. 

3.  Antonio  Amadeo  or  Omodeo,  the  greatest  of  the 
North  Italian  sculptors  :  his  works  in  the  Certosa  ;  the 
monuments  of  Medea  and  Bartolomeo  Colleoni  at  Ber- 
gamo, etc. 

Perkins,  Italian  Sculptors,  pp.    129-31  ;       Symonds,     Renaissance    in    Italy,     pp. 

Handbook  Italian  Sculp.,  pp.  184-92.  164-5. 

LUEBKE,  Hist.  Sculp.,  Vol.  2,  pp.  202-5.       Hakk,  Cities  of  North,  and  Cent.  Italy, 

Vol,  I,  pp.  222-4. 


XVI.— SCULPTURE  OF   THE   SIXTEENTH  CENTURY. 


THE    LATER    RENAISSANCE. 

I.  Andrea  Sansovino,  the  sculptor  of  the  transition 
between  the  early  and  later  renaissance,  (1460 -1529);  his 
monuments    to  the    Cardinals    in   S.    Maria    del   Popolo 


46 


HISTORY  OF  SCULPTURE. 


and  group  of  the  Virgin  and  St.  Anna  in  St.  Agostino, 
Rome;  the  marble  shrine  of  the  Santa  Casa  at  Loreto 
and  its  reliefs. 


Perkins,  Tuscan  Sculptors,  Vol.  i,  pp. 
241-6;  Handbook  Italian  Sculp.,  pp. 
237-41- 

LuEBKE,  Hist.  Sculp.,  Vol.  2,  pp.  341-9  ; 
Hist.  Art,  Vol.  2,  pp.  356-60. 

Scott,  Renaissance  of  Art  in  Italy,  pp. 
222-4;  Sculp.,  Renaissance  and  Mod- 
ern, Pt.  2,  pp.  56-9;  Lucadella  Robbia, 
pp.  56-9. 


SvMONDS,  Renaissance  in  Italy,  p.  166. 
Hare,  Cities  of  North,  and  Cent.  Italy, 
V'ol.  2,  pp.  402-8  ;  Walks  in  Rome,  p. 

443- 
Vasari,  Lives    of  the    Painters,  Vol.  3, 

pp.  116-30. 
DoHME,    Kiinst   und  Kiinstler    Italiens, 

Vol.  5,  Nos.  72-3,  pp.  3-14. 


2.  Jacopo  Tatti  or  Sansovino,  architect  and  sculp- 
tor (i486- 1 5 70);  his  statues  of  St.  James  and  Bacchus 
at  Florence,  of  Apollo,  Mercury,  etc.  in  the  Loggia  of  the 
Campanile  and  of  St.  John  in  the  Frari  church,  Venice  ; 
his  bronze  reliefs  tor  San  Marco,  Venice,  and  other  sculp- 
tures. 


Perkins,  Tuscan  Sculptors,  Vol.   i,  pp. 
246-53  ;  Handbook  Italian  Sculp.,  pp. 

241-5- 
Luekke,  Hist.  Sculp.,  Vol.  2,  pp.  362-7  ; 

Hist.    Art,    Vol.    2,    pp.    273-6;  Men. 

Art,  Vol.  2,  pi.  73,  text  p.  221. 
ScOTT,  Renaissance  of  Art  in  Italy,  pp. 

226-9  '  Sculp.,   Renaissance  and  Mod- 


ern,   Pt.    2,     pp.     59-62  ;    Luca    della 

Robbia,  pp.  59  62. 
Symon'DS,     Renaissance     in    Italy,     pp. 

167-71. 
Vasari,   Lives   of  the  Painters,  Vol.    5, 

pp.  408-29. 
DoHME,    Kunst  und    Kiinstler    Italiens, 

Vol.  5,  Nos.  72-3,  pp.  14-32. 


3.  Michael  Angelo  (1475- 1564):  his  wonderful  and 
many-sided  genius;  his  life  under  the  patronage  of  Loren- 
zo de  Medici  and  his  later  experiences;    his  early  work  in 


HISTORY  OF  SCULPTURE. 


47 


sculpture:  the  mask  of  a  Faun,  relief  of  Hercules  and  Cen- 
taurs, Cupid  and  Bacchus,  the  Angel  with  the  Candelabrum, 
the  Pieta,  the  Madonna  at  Bruges,  the  David  at 
Florence,  etc. 


Perkins,  Tuscan  Sculptors,  Vol.  2,  pp. 

1-22  ;    Handbook  Italian   Sculp.,  pp. 

251-66;  Raphael  and  Michelangelo,  pp. 

30-54,  70-1. 
Clement,  Michelangelo,  pp.  5-22,  30, 
Scott,  Renaissence  of  Art  in  Italy,  pp. 

233-7  ;  Sculp.,  Renaissance  and  Mod- 
em, Pt.  2.  pp.  65*- 70*. 
LuEBKE,  HisL  Sculp.,  Vol.  2,  pp.  370-8  ; 

Hist.   Art,  Vol.  2,    pp.    260-3  ;   Mon. 

Art,  Vol.  2,  pi.  72,  text  p.  218. 
Yriarte,  Florence,  pp.  272-3. 
Black,  M.  Angelo,   pp.    1-17,   148-56; 

pis.  2-6. 
Grimm,  Life  of  M.   Angelo,  Vol.    i,  pp. 

84-249. 
Wilson,  Life  and  Works  of  M.  Angelo, 

pp.  3-6d,  67,  1 1 5-6. 
BoiiN,  Outlines  from  Work  of  M.  Angelo, 

pis.  1-4,  14-8. 
Oliphant,     Makers    of     Florence,    pp. 

376-86. 
Symonds,     Renaissance     in     Italy,    pp. 

171-2,  384-91. 
Vasari,  Lives  of  the  Painters,  Vol.  5,  pp. 

227-44. 
Sweetskr,  M.  Angelo   pp.  7-3 1,  144-50. 
Jarves,  Art  Studies,  pp.  412-29. 


D'Agincourt,  Hist.  Art,  Vol.  2,  pi.  47. 
Harford,    Life   of  M.    A.  Buonarroti ; 

Vol.  I,  pp.  i-ioi,  215-27. 
DUPPA,    Life   and  works  of  M.  Angelo, 

(Bohn's  111.  Library),  pp.   7-27,  133-6. 
Jameson,  Early  Italian  Painters  (Hough- 
ton's ed.),  pp.  191-203. 
Westmacott,  Handbook  of  Sculp.,  pp. 

286-95. 
Chadwick,  Unitarian  Rev.,  Vol.  II,  pp. 

612-8. 
Cheney,  Gleanings   from  the  Fields  of 

Art,  pp.  102-23. 
Russell,  Extraordinary  Men,  pp.  9-16. 
Eastlake,    Lady,    Five    Great  Painters, 

Vol.    I,    [same  art.     Edinburgh  Rev., 

Vol.  144]. 
Blackwood's  Mac,  Vol.  118,  pp.  461-7, 

[same  art.     Living  Age,  Vol.  127,  and 

Eclectic  Mag.,  Vol.  85]. 

EDINBCRC.lt    RkV.,  Vol.    121,  pp.   545-5O, 

[.\m.  ed.,  pp.  277^]. 
Quarterly  Rkv.,  Vol.  103,  pp.  461-5, 

[.\m.  ed.,  pp.  255-7,  same   as  Living 

.Vge,  Vol.  57]  ;  Vol.   147,  pp.  336-58, 

[Am.  ed.  pp.  180-91]. 
1)(JIIMK,    Ktinst  und    Kiinstlcr  Il,i/ieiis, 

Vol.  4,  pp.  3-27. 


4.  The  story  of  the  monument  of  Pope  Julius  II  ; 
the  sitting  statue  of  Moses  on  the  monument  in  the 
church  of  St.  Peter  in  Chains  and  tlie  statue  of  the  six 


4S 


HISTORY  OF  SCULPTURE. 


prisoners,  now  in  the  Louvre  and  in  the  Boboli  gardens 
(a)  ;  the  monuments  of  Giuliano  and  Lorenzo  de'  Medici, 
and  the  group  of  the  Madonna  and  Child  in  San  Lorenzo, 
Florence  (b). 


Perkins,  Tuscan  Sculptors,  Vol.  2,  pp. 
22-8,  32,  36-8,  40-2,  (a),  42  8  (b); 
Handbook  Italian  Sculp.,  pp.  267-2, 
275-85  (a),  286-94  (b) ;  Raphael  and 
Michelangelo,  pp.  80-8,  207-16  (b), 
217-27  (b). 

Wilson,  Life  and  Works  of  M.  Angelo, 
pp.  71-87,   I95-2CX),  222-4,  439-53  (a), 

387-95  (l^)- 
Black,  M.   Angelo,   pp.   21-32,  79-81, 

123-4,  189-191  (a),  49-71,   191-2,  pis. 

8-9  (b). 
Grimm,  Life  of  M.  Angelo,  Vol.   i,  pp. 

268-71,  419-26  (a) ;   Vol,  2,  pp.  132-40 

(b). 
Clement,  Michelangelo,  pp.  26-38  (a), 

49-61  (b). 
BoHN,    Outlines   from  the  Works  of  M. 

Angelo,  pis.  7-13  (a),  5-7  (b). 
Scott,  Renaissance  of  Art  in  Italy,  pp. 

237-43;  Sculp.,  Renaissance  and  Mod- 
ern, Pt.  2,  pp.  7o*-5*. 

LuEBKE,Mist.  Sculp., Vol.  2,  pp.  378-80 

(a),  381-4  (.  );  Hist.   Art,  Vol.   2,  pp. 

263-9  (•'^i  ^^)  5  Mon.  Art,  Vol.  2,  pi.  72, 

text,  pp.  218-9. 
Yri.\rte,  Florence,  pp.  273-80  (a,  b). 
Jameson,  Hist.  Our  Lord, Vol.  i,  pp.  1^72. 

K.      Benvenuto     Cellini 


Oliphant,  Makers  of  Florenc",  pp.  388- 

415  (a,  b). 
Symonds,  Renaissance  in  Italy,  pp.  393- 

404,  414-20  (a,  b). 
D'Agincourt,    Hist.    Art,   Vol.    2,    pis. 

46  7. 
Vasari,  Lives  of  the  Painters,  Vol.  5,  pp. 

246-50  (a),  273-5  (b). 
Hare,  Cities  of  North  and  Cent.   Italy, 

Vol.  3,  pp.  1 10-3  (b). 
Sweetser,  M.  Angelo,  pp.  34-45,  64-8, 

72,  91,  107-8  (a),  90-7  (b). 
Harford,  Life  of  M.  Angelo  Buonarroti, 

Vol.  I,  pp.  242-54,  Vol.  2,  pp.  36-44 
(a),  Vol.  2,  pp.  27-35  C')- 
DUPPA,    Life    and  Works  of  M.   Angelo 

(Bohn's  111.  Library),  pp.  28-39.  '7-83, 

137  9- 

Austin,  Galaxy,  Vol.  19,  pp.  500-2. 

Blackwood's  Mag.,  Vol.  118,  pp.  468- 
71,  473-9,  (same  art.,  Living  Age,  Vol. 
127,  and  Eclectic  Mag.,  Vol.  85). 

Quarterly  Rev.,  Vol.  103,  pp.  465-70, 
[Am.  ed.,  pp.  257-61.  Same  art.,  Liv- 
ing Age,  Vol.  57]. 

Dohme,  Kunst  und  Kiinstler  Italiens, 
Vol.  4,  pp.  230-48  (a),  402-18  (b). 

( 1 500-1 571):     his     erratic 


career  and  marvelous  ability  as  a  goldsmith  ;  his  rank 
as  a  sculptor ;  his  principal  works,  the  salt-cellar  at 
Vienna,  the  Nymph  of  Fontainebleau,  statue  of  Perseus 


HISTORY  OF  SCULPTURE. 


49 


with  the  head  of  Medusa,  busts  of  Cosimo  I.,  Bindo 
Altoviti,  etc.;  importance  and  character  of  the  literary- 
labors  of  Cellini. 


Perkins,  Tuscan  Sculptors,  Vol.  2,  pp. 
113-42  ;  Handbook  Italian  Sculp.,  pp. 

324-35- 

Scott,  Renaissance  of  Art  in  Italy,  pp. 
352-3 ;  Sculp. ,  Renaissance  and  Mod- 
ern, pp.  78-85 ;  Luca  della  Robbia, 
pp.  78-85. 

Yriarte,  Florence,  pp.  229-31,  283-8. 

LuEBKE,  Hist.  Sculp.,  Vol.  2,  pp.  351-3  ; 
Hist.  Art,  Vol.  2,  pp.  270-1  ;  Mon. 
Art,  Vol.  2,  pi.  75,  text,  pp.  221-2, 

Vasari,  Lives  of  the  Painters,  Vol.  5,  pp. 
486-8. 


Labarte,  Arts  of  Middle  Ages  and  Ren- 
aissance, pp.  251-60. 

Lacroix,  Arts  in  the  Middle  Ages,  pp. 
140-52. 

Horner,  Walks  in  Elorence,  Vol.  i,  pp. 
225-7. 

Westmacott,  Handbook  of  Sculp.,  pp. 
300-1. 

Mag.  of  Art,  Vol.  5,  pp.  200-6  ;  Vol. 
6,  pp.  281-6. 

Eclectic  Mag.,  Vol.  loi  [NewSer.  Vol. 
38],  pp.  698-711. 

Cellini,  Autobiography. 


6.  Giovanni  da  Bologna,  the  last  noted  sculptor  of 
the  grand  epoch  (1530-1608)  ;  the  fountains  of  Bologna 
and  of  the  Boboli  gardens,  Florence  ;  the  bronze  Flying 
Mercury ;  statuette  of  Venus  at  Petraja ;  the  marble 
groups  of  the  Rape  of  the  Sabines  and  of  Hercules 
and  Nessus  ;  the  equestrian  statue  of  Cosimo  I.,  etc 


PiRKlNS,    Tuscan  Sculptors,  Vol.   2,   pp. 

169  77  ;  Han<lbook  Italian  Sculp. ,   pp. 

3i7  40. 
Scott,  Renaissance  of  Art  in    Italy,   p. 

353  ;  Sculp.,  Renaissance  and  Mixlern, 

Pt.    2,    pp.    86-9  ;  Luca  della  Robl)ia, 

pp.  86-9. 
Yriarte,  Florence,  pp.  227-S,  232,  289, 

291-4. 
Luebke,  Hist.  Sculp.,  Vol.  2,  pp.  390-2  ; 

Hist.  Art,  Vol.  2,  pp.  277-8;  Mon.  Art 

Vol.  2,  pi.  90,  text  p.  260. 


HoRNKR,  Walks  in  Florence,  Vol.  !,  pp. 

227-8,231,336-7. 
Hark,  Cities  of  North,  and  Cent.  Ital>. 

Vol.  3,  pp,  37-8,  62. 
West.MACOTT,  Handbook  of  Sculp.,   p>. 

305-10. 
Mac.az.  ok  Art,  Vol.  6,  pp.  303-8 
Vasari,  Lives  of  the  Painters.  Voi.  5,  pp, 

491  2. 
SVMONDS,  Renaissance  in  Italy,  pp.  176- 

7- 


5° 


HISTORY  OF  SCULPTURE. 


XVIL      SCULPTURE    IN     ITALY    BETWEEN    1600-1850— THE 
PERIODS  OF  THE  DECAY  AND  OF  THE  THIRD  REVIVAL. 

I.  Lorenzo  Bernini,  the  principal  artist  of  the 
decadence  (1598— 1680):  his  affected  dramatic  style,  as  seen 
in  his  works — the  groups  of  Apollo  and  Daphne  and  of 
the  Rape  of  Persephone,  the  statues  of  saints  in  the 
colonades  of  St.  Peter  and  in  the  various  churches,  the 
Angels  on  the  Bridge  of  St.  Angelo,  the  equestrian  statue 
of  Constantine,  etc. 


LuEBKE,  Hist,  of  Sculp.,  Vol.  2,  pp.  415- 

20;   Hist.  Art,  Vol.  2,  p.  516;    Mon. 

Art,  Vol.  2,  pi.  96,  text  pp.  267-8. 
Scott,  Sculp.,  Renaissance  and  Modern, 

Ft.  2,  pp.  13 1-3. 
Fl.vxman,    Lect    on  Sculp.,  pp.  282-4, 

291-2. 
Hare,    Walks   in   Rome,    pp.  357,  401, 

495.  514,  521-2- 


Taine,  Rome  and  Naples,  pp.  16,  31-2, 

205,  255-8,  262-3. 
Eaton,  Rome  in  the  19th  Cent,  Vol.  i, 

p.  459. 
Westmacott,  Handbook  of  Sculp.,  pp. 

310-4. 
DOHME,    Kujist   und  Kunstley    Italiens, 

Vol.  5,  N03.  80-1,  pp.  23-40. 


2.     Winckelmann    and   Lessing ;    general    art  study 
and  criticism  introduced. 


LuEiiKE,  Hist,  of  Sculp.,  Vol.  2,  p.  433. 
Jarves,  Art  Studies,  pp,  1-21. 
Pater,  Renaissance,  pp.  164-225. 
Grlmm,  M.  Angelo,  Vol.  2,  pp.  468-86. 
Winckelmann,  Anc.  Art,  pp.  1-104. 
Justi,  Winclcelmann,  sein  Leben,  seine 

Werke  und  seine  Zeitgenossen. 
DeQuincev,  Blackwood's  Mag.,  Vol.  16, 

pp.  312-6;  Vol.   20,   pp.  728-44;  pp. 

9-24  (Lessing). 
Brown,  Art  Journal,  Vol.  33,  pp.  309-12. 


Hildebrand,   Fortn.    Rev.,   Vol.  2.  pp. 

760-84;  Vol.  22,  pp.  27-51. 

Japp,  British  Qu.  Rev.,  Vol.  71,  pp.  303- 
35  [Am.  ed.,  pp.  156-73]. 

Ten  Brook,  National  Qu.  Rev.,  Vol.  15, 
pp.  263-85.     . 

Quarterly  Rev.,  Vol.  136,  pp.  1-54 
[Am.  ed.,  pp.  1-29.  Same  art.,  Liv- 
ing Age,  Vol.  120,  pp.  707-38]. 

Westminster  Rev.,  Vol.  87,  pp.  80-uo 
[Am.  ed.,  pp.  36-50]. 


HISTORY  OF  SCULPTURE. 


51 


3.  Antonio  Canova  (175 7-1 82 2):  his  study  of  the 
antique  and  his  partial  revival  of  its  spirit ;  his  works — 
Theseus  and  the  Centaur,  Perseus,  Kreugas  and  Da- 
moxenes,  Venus,  Hebe,  the  Thtee  Graces,  the  tomb 
monuments  of  Clement  XIII.,  Clement  XIV.,  Christina  of 
Austria,  etc. 


Albrizzi,  The  Works  of  Canova  (Osgood 
ed.),  Vol.  I,  pis.  7-12,  20-3,39-40,  58- 
9,  140  ;  text  Vol.  2. 

LuEBKE,  Hist.  Sculp.,  Vol.  2,  pp.  434-8 ; 
Hist.  Art,  Vol.  2,  pp.  601-2 ;  Mon, 
Art,  Vol.  2,  pi.  103,  text  p.  289. 

Flaxman,  Lect.  on  Sculp.,  pp.  300-8. 

Scott,  Sculp.,  Renaissance  and  Modern, 
pt.  2,  pp.  133-43- 

Taine,  Florence  and  Venice,  pp.  248-9  ; 
Rome  and  Naples,  pp.  128,  351. 


Hare,  Walks  in  Rome,  pp.  520-1,  638-9. 
Jameson,  Sketches  of  Art,  pp.  201-2. 
Eato.n,  Rome  in  the  19th  Cent.,  Vol,   l^ 

pp.  107-9 !  ^ '^^-  2'  PP*  299-304. 
Cleghorn,    Ancient   and    Modern   Art, 

Vol.  2,  pp.  3006. 
Everett,  E.,  North,  Amer.  Rev., Vol.  10, 

pp.  372-86. 
Everett,    A.    H.,    North   Amer.    Rev., 

Vol.  29,  p.  441. 
Edinburgh  Rev.,  Vol.  43,  pp.  496-510. 


4.  John  Flaxman,  the  English  master  of  classic 
design  (i 755-1 826),  and  his  efforts  after  the  spirit  of 
antique  reliefs. 


LuEBKE,   Hist.   Sculp.,   Vol.   2,  p.  440, 

Hist.   Art,  Vol.  2,  p.   602  ;    Mon.   Art. 

Vol.  2,  pi.  103,  text  p.  289. 
Scott,  Sculp. ,  Renaissance  and  Modern, 

pt.  2,  pp.  161-3. 
Knight,  Pict.  Gal.  of  Arts,  Vol.  2,  ill.  p. 

316,  text  pp.  315-8. 
Pope,  Iliad  and  Odyssey,  illustrated  by 

Flaxman. 


Cunningham,  British  Painters  and  Sculp- 
tors,  Vol.    3   (IIarj">er's  ed.),  pp.   237- 

315- 
Westmacott,  Handbook  of  Sculp.,  pp. 

325  7,  357  8. 
Atkinson,  Good  Words,  Vol.  22,  p.  740. 
TENiswt)on,    Art  Journal,    Vol.  24,  pp. 

189,  278. 
Living  .Vge,  Vol.  37,  pp,  538,  620. 


5.  Bertel  Thorwaldsen,  "the  Pheidias  of  the  North" 
(1770-1844);  sl<:etch  of  his  life  and  artistic  career;  his 
works — 


"»« 


HISTORY  OF  SCULPTURE. 


(a)  Reliefs:  the  Four  Seasons,  Night  and  Morning, 
the  Four  Elements,  the  Four  Evangelists,  the  Procession 
of  Alexander,  Achilles  and  Briseis,  Jupiter  and  Nemesis, 
Minerva  and  Prometheus,  Esculapius  and  Hygiea,  Her- 
cules and  Hebe,  etc. 

(b)  Groups  and  statues:  the  Graces,  Ganymede  and 
the  Eagle,  Venus,  Mercury,  Hebe,  the  Shepherd  Boy,  etc. 

(c)  Monuments:  Pius  VII.,  the  Dying  Lion  at  Lucerne, 
Schiller,  etc. 

(d)  Sculptures  of  the  Church  of  Our  Lady  at  Copen- 
hagen. 


Plon,  Thorwaldsen,  his  Life  and  Works. 
Thiele,    Thorwaldsen   and   his   Works, 

Vol.   I,  pp.   1-2,  16-7,  20,  39-48,  pis. 

17.  23,  51-76;  Vol.  2,  pp.  5-8,   1 1-2, 

14-5,  18-9,  20,  24-5,  32-34,  51-5,  pis. 

88-8,  91,  96,  100,  no,  115-40,  147-52  ; 

Vol.  3,  pp.   19,  37-8,  40-1,  pis.   18-9, 

68-74,  87-90. 
LuEBKE,  Hist.  Sculp.,  Vol.  2,  pp.  440-6  ; 

Hist.    Art,    Vol.    2,    pp.  602  3  ;    Mon. 

Art,  Vol.  2,  pi.  103,  text  p.  290. 
Scott,  Sculp.,  Renaissance  and  Modem, 

pt.  2,  pp.  144-52. 
Atkinson,  Art  Tour  to  Northern  Capitals 

of  Europe,  pp.  46-81. 
Pai.grav^k,    Essays   on  Art,  pp.  226-47. 
Hare,  Walks  in  Rome,  pp.  523-4. 
Eaton,  Rome  in  the  19th  Cent.,  Vol.  2, 

pp.  304-7. 


Jameson,  Sketches  of  Art,  pp.  201-4. 
Cleghorn,    Ancient   and    Modern   Art, 

Vol.  2,  pp.  3CS-9. 
Buchanan,  Fortn.  Rev.,  Vol.  i,  pp.  216- 

27.    [Same   art..    Eclectic   Mag.,    Vol 

65,  New  Ser.  2,  pp.  294-301]. 
Atkinson,  Fraser's  Mag.,  Vol.  87,  p.  52 
Greene,    Putnam's    Mag.,    Vol.    i,  pp 

93-7- 
Macmillan,  Macmillan's  Mag.,  Vol.  20. 

P-  345-     [Same  Art,   Living  Age,  Vol 

102,  pp.  688-96]. 
Wells,  Scribner's  Monthly,  Vol.    i,  pp 

615-7. 
Art  Journal,  Vol.  i,  pp.  193,  213  ;  Vol 

3,   p.   63 ;   Vol.  20,  p.  61  ;  Vol.  32,  p 

237- 
Edinhurgh    Rev.,    Vol.   142,  pp.    1-30, 
[Am.  ed.,  pp.  1-16]. 


PART  SECOND. 


HISTORY  OF  PAINTING. 


INTRODUCTORY. 

Definition  and  illustration  of  the  most  important 
technical  terms  used  in  the  critical  discussion  of  the  merits 
of  paintings:  a.  Figure;  attitude;  expression;  fore- 
shortening; drapery;  costume. — b.  Group;  composition; 
accessories;  unity;  contrast;  breadth. — G.  Chiaroscuro  and 
color;  harmony;  tone;  aerial  perspective. — d.  Design; 
style;   manner;   natural;    ideal. 

Van  Dyke,  How  to  judge  of  a  Picture. —  Fla.xman,   Lectures  on   Sculpture,    pp. 

Principles  of  Art,  pp.  256-77.  143  214. 

Twining,  The  Philosophy  of  Painting.  RusKiN,    Lectures  on  Art,  pp.   129-202; 

Hayijon,  Painting  and  Design.  Modern  Painters  (see  Index). 

Hamerton,  Thoughts  aliout  Art.  Barry,   Opik   and  Fuseli,  Lectures  on 

Howard,  Color  as  a  Means  of  Art.  Painting. 

O'Neil,  Lectures  on  Painting.  Stanley,  Synopsis  of  Dutch  and  Flemish 

Bem,,  Anatomy  of  Expression,  pp. 76-99,  Painters,  pp.  xvii-xxxii. 

134-208.  Taine,  Ideal  in  Art,  pp.  122-39,  *65-83. 
Long,  Art  and  its  Laws. 

I.— PAINTING  IN  EGYPT  AND  ASIA. 

I.     Painting  in  Egypt;    best  period,  1400-523  B.  C. 
a.     Mural  paintings  in  the  tombs  around  the  pyra- 
mids and  in  the  grottoes. 


54 


HISTORY  OF  PAINTING. 


h.     Paintings  on  the  mummy  cases  and  cloths. 
e.     Paintings  on  the  papyrus  rolls. 


LuEBKE,    Hist.    Art,   Vol.    2,   pp.    47-8; 

Mon.  Art,  Vol.  i,  pi.  6,  text  p.  19. 
Knight,  Pict.  Gal.  Arts,  Vol.  2,  II.  pp. 

321-4,  text  pp.  322-6. 
Heaton,  Hist.  Painting,  pp.  1-9. 
Wilkinson,   Anc.    Egypt.,   Vol.   2,  pp. 

155,  278  89;  Vol.  3,  pp.  435-6. 
WiNCKLEMANN,    Anc.    Art,    Vol.    I,    pp. 

205-9. 

Lepsius,  Egypt,  pp.  52,  11 1,  246,  268. 
Brugsch,    Egypt   under    the    Pharaohs, 
Vol.  I,  pp.  88,  205-6. 


Westkopp,  Archeology,  2d  ed.  pp.  252-6. 
WoLTMANN  and  Woermann,  Hist.  Paint- 
ing, Vol.  I,  pp.  3-21. 
Sharpe,  Hist.  Egypt,  Vol.    i,  pp.  78-80, 

193-5.  232-3. 
Hawks,  Mon.  Egypt,  pp.  50-3,  73-80. 
Manning,   Land   of  Pharaohs,   pp.    92, 

102-3,  127-32,  172. 
Wright,  Hist.  Caricature,  pp.  1-12. 
KoEHLER,  Hist.  Art,  pi.  187. 
Rawlinson,    Anc.    Egypt,    Vol.    2,    pp. 

290-7. 


2.     Painting  in  the  great  cities  of  Mesopotamia — 
Babylon  and  Nineveh. 


Heaton,  Hist  Painting,  pp.  9-11. 
Woi.tmann     and     Woermann,     Hist. 

Painting,  Vol.  I,  pp.  22-9. 
Layard,  Nineveh,  Vol.  i,  pp.  71-2;  Vol. 

2,  pp.  17-8,  238-43. 
KoEHLER,  Hist,  Art,  pi.  187. 


Rawlinson,  Anc.  Monarchies,  Vol.  i, 
PP-  331-3,  357-65,  377-82,  389. 

Eng.  Cyc,  Arts  and  Sci.,  Vol.  6,  Col. 
196. 

Eng.  Brit.,  Art.     "Nineveh". 

Reber,  Hist.  Anc.  Art,  pp.  96-8. 


3.      Painting    in   China  and  India;  dexterity   without 
artistic  expression. 

JoH.NSON,  Oriental  Religions,  China,  pp.       Luebke,  Hist.  Art,  Vol.  i,  p.  109. 

79-81.  Heaton,  Hist.  Painting,  p.  12. 

Jarves,  Art  Thoughts,  p.  221. 


4.     Painting    in     Japan;     masterly    suggestion     and 
characterization. 


HISTORY  OF  PAINTING.  55 

JoNHSON,  Oriental  Religions,  China,  pp.  Palgrave,  Essays  on  Art,  pp.  185-92. 

81-3.  Alcock,  Art  in  Japan,  pp.  82-101. 

Jarves,  Art  Thoughts,  pp.  221-g,  Art  in  Luebke,  Hist.  Art,  Vol.  i,  pp.  116-7. 

Japan,  pp.  13-47.  167-21 1. 

5.     Conditions    retarding   the    development   of   any- 
fine  art  among  the  Orientals. 


Ai.coCK,  Art  in  Japan,  pp.  244-5,  249-54,  Zerffi,  Hist.  Dev.  Art,  pp.  45-6,  153-5. 

273-5.  WiNCKELMANN,  Anc.  Art,  Vol.  I,  p.  162. 

Johnson,  Oriental  Religions,  China,  pp.  Woltmann      and     WoERMANN,     HiST. 

1 13-4.  Painting,  Vol.  i,  pp.  29-30. 


II.— ANCIENT  PAINTING  IN  EUROPE, 

1.  Gradations  in  the  early  development  of  painting 
in  Greece:  skiagraphic,  monographic  and  zographic  styles. 

EscHENBERG,    Manual    Clas.     Lit,    pp.       Wincket.mann,    Anc.    Art,  Vol.    2,  pp. 
409-12.  105-6. 

2.  The   several   varieties    of    classic   art    in    color: 
encaustic,  fresco,  tablet  and  mosaic. 

Luebke,  Hist.  Art,  Vol.  i,  p.  246;  Mon.  Viardot,  Hist.  Painting,  pp.  29-30. 

Art,  Vol.  I,  pi.  22-3,  text  pp.  82-6.  ScoTT,  Fine  Arts,  pp.  242-5,  246-57. 

Woi.TMANNandWoERMANN,  Hist.  Paint-  Grm.,  Greeks  and  Rom.ms,  pp.  471-5. 

ing,  Vol.  I,  pp.  92-4.  EscHENBERC,   Manual  of  Clas.   Lit.,  pp. 
Bl.ANC,  Gram.  Painting,  pp.  180-1,  199-  ^12  3. 

200.  WiNCKELMANN,    Anc.     Art,    Vol.    2,   pp. 
Lacroix,  Arts  Mid.  Ages,  pp.  269-71.  106  14. 

Westropp,  Archaeology,  p.  264.  D'.Vnvkrs'  Elem.  Hist.  Painting, pp.8  10. 


56 


HISTORY  OK  PAINTING. 


3.  The  four  epochs  of  painting  in  Greece  and  the 
masters  of  each:  Bularchos;  Polygnotos  and  Apollodoros: 
Zeuxis  and  Parrhasios;  Apelles  and  Protogenes. 


LUEBKE,  Hist.  Art,  Vol.  i,  pp.  246-53. 
Knight,  Pict.  Gal.  of  Arts,  Vol.  2,  text 

PP-  330-5- 
HiiATO.N,  Hist.  Painting,  pp.  17-23. 
W1NCKEI.MANN,    Anc.    Art,    Vol.    i.   pp. 

297-9. 
D'Anvers'    Elem.    Hist.    Painting,    pp. 

18-19. 


Westropp,  Archaeology,  pp.  261-3. 

WoLTMANN  and  WoERMANN,  Hist  Paint- 
ing, V^ol.  I,  pp.  38-65. 

St.  John,  Anc.  Greece,  Vol.  I,  pp. 
306-7. 

ViARDOT,  Hiit.  Painters,  pp.  9-10. 

CURTius,  Hist.  Greece,  Vol.  2,  pp.  596- 
600;  Vol.  5,  pp.  210-2. 


4.     Vase    painting    in  Greece    and    in    the    Grecian 
colonies. 


LuEBKE,  Hist.  Art,  Vol.  i,  pp.  253-7; 
Mon.  Art,  Vol.  i,  pis.  20-1,  text  pp. 
77-82. 

Prime,  Pottery  and  Porcelain,  pp.  90-1. 

VVoLTMANNand  WoERMANN,  Hist.  Paint- 
ing, Vol.  I,  pp.  70-85. 

Hake,  Walks  in  Rome,  pp.  572-3. 

D'Anvers'  Elem.  Hist.  Painting,  pp. 
16-17. 


Hunt,  Bits  of  Travel,  pp.  103-11. 
EscHKNUERG,  Manual  Clas.  I, it.,  pp.  3S7- 

415- 
Gl'HL,  Greeks  and  Romans,  pp.  142-8. 
Cl'RTIUS,  Hist.  Greece,  Vol.  5,  pp.  212-4. 
KoEHi.ER,  Hist.  Art,  pi.  188. 
Westropp,    Archceology,     pp.     287-302, 


5.     Mural  paintings  and  vase  paintings  found  in  the 
tombs  of  Etruria. 


LuEHKE,  Hist.  Art,  Vol.  i,  pp.  267-70; 
Mon.  Art,  Vol.  I,  pi.  26,  text  pp.  93-6. 

Woi.t.man.n  and  Woermann,  Ilist.  Paint- 
ing, Vol.  I,  pp.  99-101,    103-10. 

Westropp,  Archreology,  pp.  257. 

Heaton,  Hist.  Painting,  pp.  24-5. 


D'Anvers'  Elem.  Hist.  Painting,  pp. 2 1-2. 
Winckei.Mann,    Anc.    Art,    Vol.    i,  pp. 

244-6. 
KoEHLEK,  Hist.  Art,  pi.  189. 
Dennis,  Cities  and  Cemeteries  of  Etruria, 

p;i.  Ixxxtv  ci  and  see  index. 


HISTORY  OF  PAINTING. 


57 


6.     Roman   painting   as    revealed   by    the    ruins    of 
Pompeii  and  Herculaneum:  mural  painting;  mosaic. 


LUEBKE,  Hist.  Art,  Vol.  i,  pp.  319-23; 
Mon.  Art,  Vol.  i,  pi.  31  A,  text  p.  H2. 

Knight,  Pict.  Gal.  Arts,  Vol.  2,  II.,  pp. 
325,  328,  332,  336. 

Woi.TMA.NN  and  Woermann,  Hist.  Paint- 
ing, Vol.  I,  pp.  95-8,  110-39. 

Hr.ATON,  Hist.  Painting,  pp.  28-9. 

WiNCKELMANN,  Anc.  Art,  Vol.  2,  pp. 
86-102,  332-3. 

Dyer,  Pompeii,  pp.  273-96,  310-1,  312-4, 
375-82. 

Westropp,  Archaeology,  pp.  268-76  (mural 
painting);  276-82  (mosaic). 


WoRNUM,  Epochs  of  Painting,  pp.  68-9. 
D'Aglncourt,  Hist.  Art,  Vol.  3,  pi.  4. 
Gei.l,   Pompeiana,  pis.  41-3,   76  7,   pp. 

82-7, 
EschExNBERG,  Manual  of  Clas.   Lit.,  pp. 

415-6. 
Taine,  Phil.  Art,  pp.  46-8. 
GuHi.,  Greeks  and  Romans,  pp.  35^^67, 

466-71. 
ViARDOT,  Hist.  Painters,  pp.  2-3,  10-3. 
Mommsen,    Hist.    Rome,    Vol.    2,    pp. 

567-8. 
Koehlkr,  Hist.  Art,  pis.  188-91. 


7.  Indirect  evidences  of  the  superior  excellence  of 
painting  in  Greece;  the  question  as  to  chromatic  sculpture 
in  Greece. 


LUEBKE,  Hist.  Sculp.,  Vol.    I,  pp.  68-9; 

Mon.    Art,   Vol.    i,   pi.    15A,   text,  pp. 

18-9. 
WoLTMAN.N     and     Woermann,     Hist. 

Painting,  Vol.  i,  pp.  35-7,  140-2. 
Fei.ton,  Anc.  Greece,  Vol.  2,  p.  143. 
Westropp,  Archaeology,  pp.  164-7. 


WiNCKELMANN,    .\nc.    Art,    Vol.    1,   pp. 

29,  102-4,  219-23,  330. 
Viardot,  Hist.  Painters,  pp.  1-2. 
Mommsen,    Hist.     Rome,    Vol.    2,    pp. 

567-S. 
Springer,  in  Paedeker's  Greece,  p.  ci. 


58 


HISTORY  OF  PAINTING. 


Ill— EARLY  CHRISTIAN  PAINTING. 


TRANSITION   FROM  SYMBOLISM  TO  FINE  ART. 

[2CX)-I200    A.    D.] 

I.      Paintings  in  the  catacombs  and   Christian   ceme- 
:eries  of  Rome  and  Naples. 

a.  General  account  of  the  galleries,  chambers  and 
chapels. 

b.  Conversion  of  mythological  symbols  and  char- 
acters to  Christian  uses. 

C.      Original  symbols  in  the  early  development  of 
Christian  art. 


Springer,  in  Baedeker's  N.  Italy,  p.  xxxi. 
KuGLER,   It.   Scools  of  Painting,  Vol.  i, 

pp.  I -1 5. 
LUEBKE,    Hist.    Art,    Vol.   i,  pp.  372-6; 

Men.   Art,  Vol.   i,  pis.  36-7,  text  pp. 

129-32. 
Jameson,  Sacred  xVrt,  Vol.  i,  pp.  22-38; 

Hist.  Our  Lord,  Vol.  i,  pp.  16-8. 
Knight,  Pict.  (ial.  Arts,  text  pp.  339,  342. 
D'Agincocrt,  Hist.  Art,  Vol.  3,  pis.  6-u. 


H.-VRE,  Walks  in  Rome,  pp.  273-83,  340, 
446  7. 

Scott,  Fine  Arts,  pp.  917,  28-9. 

WoLTMAWand  Woermann,  Hist.  Paint- 
ing, Vol.  I,  pp.  151-64. 

RosENGARTEN,   Arch.  Styles,  pp.    174-6. 

Jarves,  Art  Hints,  pp.  182-5. 

Mii.MAN,  Latin  Christ.,  Vol.  8,  pp.  464-8. 

Koehi.er,  Hist.  Art,  pi.  192. 

WoRNUM,  Epochs  of  Painting,  p.  82. 


HISTORY  OF  PAINTING. 


59 


2.     Byzantine   painting:  its    characteristics,    subjects 
and  uses. 


KUGLER,  It.  Schools  of  Painting,  Vol.  i, 

pp.    43-89. 
LUKBKK,  Hist.  Art,  Vol.   i,  pp.  388-91; 

Mon.  Art,  Vol.  i,  pi.  37,  text.p.  131. 
Heaton,  Hist.  Painting,  pp.  35  40. 
MiLMAN,  Latin  Christ.,  Vol.  8,  pp.  473  6. 


Woi-TMANN  and  WoKRMANN,  Hist.  Paint- 
ing, Vol.  I,  pp.   181-7,  221-3,  2J6'-43. 

T.VINK,  Florence  and  Venice,  pp.    183-5. 

Lacroix,  Arts  Mid.  Ages,  pp.  272  4, 
284-6. 


3.      Mosaics    and    manuscript    illuminations    of    this 
period;   Byzantine  and  Romanesque. 


KUGLiiR,  It.  .Schools  of  Painting,  Vol.  I, 
pp.  17-39,  92-100,  112  4 

LUKBKE,  Hist.  Art,  Vol.  i,  pp.  383-7, 
391-400,  551  7;  Mon.  Art,  Vol.  i,  pis. 
37,  49,  texipp.  130-2,  161- 2. 

Woi.TMANN  and  Wok RM ANN,  Hist.  Paint- 
ing, Vol.  I,  pp.  165-81,  188  96,  218-20, 
223-36,  324  40,  344-6. 

Jamkson,  Hist.  Our  Lord,  Vol.  i,  pp. 
18-20. 

ViAKiKDT,  Hist.  Painters,  pp.  25  9. 

WuKNLM,  Elpochs  of  Painting,  pp.  86-9. 


Knight,  Pict.  Gal.  Arts,  Vol.  2,  text  pp. 

342-3- 
Hark,  Walks  in  Rome,  pp.  234  5,  405-6; 

Cities  of  Italy,  Vol.  2,  pp.  26-30,  306  8. 
Laharte,    Arts    Mid.    Ages,  pp.    58-64, 

91  6. 
RusKIN,    Stones    of  Venice,   Vol.    2,   pp. 

20-1,  77,  122,  124. 
Lackoix,  Arts  Mid.  Ages,  jjp.  434-75. 
Fairiioi.t,  Rambles  of  an  Archeologist, 

pp.  9-1 1,  i8  22. 


4.  The  various  edicts  of  church  authority  regarding 
the  use  of  images  and  pictures  in  worship,  from  that  of 
Leo  the  Isaurian,  726  A.  D.,  to  that  of  the  Council  at 
Constantinople,  879  A.  D. 


6o                                             HISTORY  OF  PAINTING. 

Draper,  Int.  Dcv.  Europe,  Vol.   i,  pp.  Jamkson,  Legends  of  the  Madonna,  In. 

357.  360,  372-3,  413-22.  troduction,  pp.  23-5. 

Mli.MAN,  Latin  Christ.,  Vol.  2,  i)p.  293-  Scott,  Fine  Arts,  pi).  35-45. 

3S4.  Vol.  S,  pp.  452  63.  Nkandkr,  Ilist.  Christ.   Church,   Vol.  3, 

Gibbon,  Hist.  Rome,  Vol.  5,  pp.  1-18.  pp.  197-243,  532-53. 
Felton,  Aiic.  Greece,  Vol.  2,  pp.  352-4. 


5.     The  discussion  among  the  bishops  as  to  the  most 
appropriate  representations  of  Christ. 

Mii.MAN,  Latin  Christ. ,  Vol.  8,  pp.  468-73.       Jameson,    Hist.    Our   Lord,  Vol.    i,  pp. 
Draper,  Int.  Dev.  Europe,  Vol.  i,  p.  361.  3i-S3- 


IV.— THE  DAWN  OF  ITALIAN  PAINTING  AS  A  FINE  ART. 


[from    1200    TO    1340    A.    v.] 


1.  The  double  renaissance:  the  revival  of  the  classic 
arts  and  the  restoration  of  nature  from  the  reprobate  rank 
it  held  in  the  Middle  Acres. 

o 

WoLTMANN  and  WoEKMANN,  Vol.  2,  pp.       Van  Dvke,  Principles  of  Art,  Chap.  3. 
3-6  (Introduction). 

2.  The  three  nurseries  of  new  art:  Siena,  Pisa  and 
Florence. 


Taine,  Florence  and  Venice,  pp.  48-54,  WoRNUM,  Epochs  of  Painting,  pp.  95-6. 

108-9.  Lanzi,  Hist.  Painting,  Vol.  i,  pp.  15-9, 

Woi.TMANN  and  Woermann,  Hist.  Paint-  39  42,  3/2-8,  455. 

ing,  Vol.  I,  pp.  423-5.  Symonds,  Renaissance,  pp.  182-3,261-5. 


HISTORY  OF  PAINTING. 


6i 


3.  The  two  great  repositories  of  Italian  painting  of 
this  period:  the  church  of  St.  Francis  at  Assisi  and  the 
Campo  Santo  at  Pisa. 


LUEBKE,    Hist.    Art,    Vol.    2,    pp.    52-4; 

Mon.  Art,  Vol.  i,  pi.  57,  text  p.  186. 
Taine,  Florence  and  Venice,  pp.  16-27, 

62-9. 
Tyti.er,  Old  Masters,  pp.  24-6. 


Ferguson,    Hist.    Arch.,    Vol.    2.    pp. 

325-6. 
Hark,  Cities  of  Italy,  Vol.  2,  pp.  452-3; 

Vol.  3,  pp.  382-  5. 
Scott,  Fine  Arts,  pp.  257-8. 


4.  The  forerunners  of  Giotto:  Nicola  and  Giunta  of 
Pisa;  Guido  and  Duccio  of  Siena;  Andrea  Tafi  and 
Cimabue  of  Florence. 


KUGLER,  It.  Schools  of  Painting,  Vol.  i, 

pp.  105-15. 
LiTKBKE,   Hist.  Art,   Vol.    i,  pp.    564-9; 

Mon.  Art,  Vol.  i,  pi.  49,  text  p.  160. 
Knight,  Pict.   Gal.  Arts,  Vol.  2,  II.  p. 

341,  text  pp.  343,  346. 
Heaton,  Hist.  Painting,  pp.  40-51. 
ViARDOT,  Hist.  Painting,  pp.  38-9,44-5. 
Lanzi,  Hist.   Painting,  Vol.  I,  pp.  5  23. 
Vasari,  Lives,  Vol.  i,  pp.  35-45,  60-93, 

241-4. 
Ottlky,   Early   Florentine  Schools,   pis. 

2-10. 
WoRNUM,  Epochs  of  Painting,  pp.  96-7, 

99-101. 


Jarves,  Art  Studies,  pp.  111-21. 

Symo.nds,  Renaissance,  pp.   187-9. 

Wdi.t.ma.nn  and  Woermann,  Hist.  Paint- 
ing, Vol.  I,  pp.  425-33. 

Taine,  Florence  and  Venice,  pp.  51-2, 
78-9. 

Oi.iPiiANT,  Makers  of  Florence,  pp. 
95-100. 

Jameson,  It.  Painters,  pp.  7  24;  Sacred 
Art,  Vol.  2,  pp.  589  90,  599;  Hist. 
Our  Lord,  Vol.  2,  pp.  9-39,  58,  64, 
168,  174,  181,  215-6,  276,  279-80,  399; 
Legenils  of  the  Madonna,  pp.  64-6, 
76  7. 

KoEHi.ER,  Hist.  Art,  pi.  198. 


5.  Giotto  the  leading  iMaster  of  the  period  (1276- 
1336):  outline  of  his  life,  incidents  showing  his  character 
and  proofs  of  his  great  industry. 


62 


HISTORY  OF  PAINTING. 


KUGLER,   It.    Schools   of  Painting,   Vol.       Vasari,  Lives,  Vol.   i,  pp.  93-5,   102-3, 


I,  pp.  1 20-1. 

KNiGHT,Pict.  Gal.  Arts,  Vol.  2,  text  p.  346. 

WOLTMANN  and  WoERMANN,  Hist.  Paint- 
ing, Vol.  1,  pp.  435,  450. 

HeaTON,  Hist.  Painting,  pp.  53-5,  63-4. 

Lanzi,  Hist.  Painting,  Vol.  i,  pp.  23-7. 

Jarves,  Art.  Studies,  pp.  141   5. 

WoRNUM,  Epochs  of  Painting,  pp.  102-3. 


1 1 5-6,   119-22. 
Tytlek,  Old  Masters,  pp.  8-12,  20-2. 
ViARDOT,  Hist.  Painters,  pp.  40-1. 
Jameson,    It.    Painters,  pp.   25-8,  36-7, 

41-6. 
Ottley,  Early  Florentine  Schools,  pis. 

12-21. 


6.     The  great  literary  contemporaries  of  Giotto  and 
their  influence  on  art;  Dante,  Petrarch  and  Bocaccio. 


Oliphant,  Makers  of  Florence,  pp.  I-91;       WoLTMANN  and  Woermann,  Hist.  Paint- 


Foreign  Classics,  pp.  7-17. 
Reeve,  Petrarch,  pp.  19,  44. 
Taine,    Florence  and  Venice,  pp.  21-6, 

66-9. 
JARVE.S,  Art  Studies,  pp.  139-41. 


ing,  Vol.  I,  pp.  443-4;  Vol.  2,  pp.  256-7. 
Grimm,  M.  Angelo,  Vol.  i,  p.  479;  Vol. 

2,  pp.  77-83- 
RusKiN,   Stones  of  Venice,    Vol.   2,  pp. 
358-61. 


7.  Giotto's  masterpieces  in  fresco  painting:  the 
series  in  the  Arena  chapel  at  Padua;  the  series  in  the 
church  of  St.  Francis  at  Assisi;  the  several  chapel  series 
in  the  church  of  Santa  Croce,  at  Florence. 


KUGLER,  It.  Schools  of  Painting,  Vol.  i, 
pp.  121-35. 

LUEBKE,  Hist.  Art,  Vol.  2,  pp.  103-6; 
Mon.  Art,  Vol.  i,  pi.  62,  text  pp.  198- 
200. 

Lanzi,  Hist.  Painting,  Vol.  3,  pp.  9-10. 

Woi.TMANN  and  Woekmann,  Hist.  Paint- 
ing, Vol.  I,  pp.  435-43.  444-50- 

VlARDOT,  Hist.  Painting,  p.  41. 

Jarves,  Art  Studies,  pp.  130  2,   134-6. 

KOEHI.ER,  Hist.  Art,  pi.  195. 


Jameson,   It.  Painters,  pp.  29-36;  Hist. 

Our  Lord,   Vol.    i,  pp.  303-4;  Vol.  2, 

pp.  37  8,  309-10;  Legends  of  Monastic 

Orders,  pp.  259-61,  265-7. 
Knight,   Pict.   Gal.    Arts,  Vol.  2,  II.  p. 

341,  text  p.  346. 
Vasaki,  Lives  Vol.  i,  pp.  95-115. 
Svmonds,  Renaissance,  pp.  190-1. 
Heaton,  Hist.  Painting,  pp.  55-62. 
TvTi.KR,  Old  Masters,  pp.  16-9. 
Taink,  Florence  and  Venice,  pp.  20-1. 


HISTORY  OF  PAINTING. 


63 


8.     General  criticism  of  the  works  of  Giotto  in  com- 
parison with  those  of  his  predecessors. 


KuGLER,  It.  Schools  of  Painting,  Vol.  i,  WoLTMANNand  Woermann,  Hist.  Paint- 

pp.  135-6.  ing,  Vol.  I,  pp.  440-1,  442-3- 

Lanzi,  Hist.   Painting,  Vol.  i,  pp.  23-8.  Symonds,  Renaissance,  pp.  192-7. 

Taine,  Florence  and  Venice,  pp.   icx>-3,  Jarves,  Art  Studies,  pp.    128-30,  132-3, 

201-2.  137-8,  146-9. 


v.— THE  LAST  OF  MYSTICISM  AND  THE  BEGINNING  OF  REALISM. 


[13OO-I45O.    a.    I).] 


I.     The    Giottesqui    or    the    followers    of    Giotto: 
Taddeo  Gaddi  (i  300-1 366);  Simone  Martini  (i  283-1 344). 


KuGLER,  It.  Schools  of  Painting,  Vol.  i, 
pp.  137-40,  165-9. 

LuEBKE,  Mon.  Art,  Vol.  i,  pi.  62,  text 
p.  199. 

Woltmann  and  Woermann,  Hist.  Paint- 
ing, Vol.  I,  pp.  452-3.  463-6- 

KoEHLER,  Hist,  of  Art,  pis.  1 96-8. 

D'Agincourt,  Hist.  Art,  Vol.  3,  pis.  118, 
122. 

Lanzi,  Hist.  Painting,  Vol.  i,  pp.  58-60, 
388-92. 

Jarvks,  Art  .Studies,  pp.  193-8. 


WoRNUM,  Epochs  of  Painting,  pp.  104-6. 
Vasari,  Lives,  Vol.  i,  pp.   181-91,   191- 

203. 
Hark,  It.  Cities,  Vol.  3,  pp.  74-5. 
VlARDol,  Hist.  Painting,  pp.  41,  45. 
Otti.ey,    Early   Florentine  Schools,  pis. 

26-8. 
Symonds,  Renaissance,  pp.  216-S. 
Jameson,  Legends  of  the  Madonna,  pp. 

141-2;    Monastic    Orders,    pp.    377-8; 

Hist.    Our   Lord,    Vol.    2,    pp.    9-10, 

105-7,  245-6. 


2.  The  great  subject  of  the  period — the  Last  Judg- 
ment; Andrea  Orcagna  (  ?-i376);  the  master  or  mas- 
ters of  the  Triumph  of  Death  in  the  Campo  Santo  at  Pisa, 


64 


HISTORY  OF  PAINTING. 


KUGLER,  It.  Schools  of  Painting,  Vol.  i, 

pp.  149-58. 
LlEKKK,  Hist.   Art,  Vol.  2,  pp.  107-10; 

Mon.  Art,  Vol.  i,  pi.  63,  text  p.  200. 
Heaton,  Hist.  Painting,  pp.  68-71. 
VlARDOT,  Hist.  Painters,  p.  43. 
Jameson,   Hist.    Our  Lord,  Vol.  2,   pp. 

399-402,405-7;  Sacred  Art,  Vol.  i,  p. 

90;  Legends  of  the  Madonna,  pp.  28, 

319- 
Vasari,  Lives,  Vol.  i,  pp.  204-18. 
Knight,  Pict.  Gal.  Arts,  Vol.  2,  II.  p. 

341- 


D'Agincoi'rt,  Hist.  Art,  Vol.  3,  pl.  119. 
Tytler,  Old  Masters,  pp.  29-30. 
Lanzi,   Hist.    Painting,  Vol.  i,  pp.  54-6. 
Taine,  Florence  and  Venice,  pp.  64-8. 
Hare,  It.  Cities,  Vol.  2,  pp.  454-8. 
Ottley,    Early   Florentine    Schools,  pl. 

31- 

Symonds,  Renaissance,  pp.  199-205. 
Jarves,  Art  Studies,  pp.  175-82. 
Woi.tmann  and  Woermann,  Hist.  Art, 

Vol.  I,  pp.  456-63. 
Koehler,  Hist.  Art,  pis.  197-8. 


4.  New  impetus  given  to  painting  by  the  gold- 
smiths; the  creation  of  Ghiberti's  bronze  doors  of  the 
Baptistery  at  Florence. 


VVoLTMANN  and  Woermann,  Hist.  Paint- 
ing, Vol.  2,  p.  310. 

LuEBKE,  Hist.  Art,  Vol.  2,  pp.  186-8; 
Mon.  Art,  pl.  65,  text  pp.  204-5. 

Knight,  Pict.  Gal.  Arts,  Vol.  2,  II.  p. 
344,  text  pp.  303-6. 

D'Agincourt,  Hist.  Art,  Vol.  3,  pis. 
41-2. 

Heaton,  Hist.  Painting,  pp.  75-8. 

Grimm,   M.  Angelo,  Vol.  i,  pp.  32-47. 

Oliphant,  Makers  of  Florence,  pp. 
124-8. 


Tytler,  Old  Masters,  pp.  30-3. 
Jameson,  It.  Painters,  pp.  64-75;  Hist. 

Our  Lord,    Vol.    i,  pp.  96-8,  119,  131, 

168. 
Ottley,   Early  Florentine  Schools,  pis. 

34-8. 
Vasari,  Lives,  Vol.  i,  pp.  361-87. 
Symonds,  Renaissance,  pp.  126-34. 
Taine,   Florence  and  Venice,  pp.  95-7, 

1 16-9. 
Hare,  It.  Cities,  Vol.  3,  pp.  62-3,  102. 


4.  Fra  Angelico  (Giovanni  da  Fiesole),  the  last 
master  under  the  reign  of  pure  faith  (i 387-1 455);  history 
and  character  of  the  man;  select  works  of  the  master: 
Last  Judgment  in  the  cathedral  of  Orvieto;  Coronation  of 


HISTORY  OF  PAINTING. 


65 


the  Virgin;  Descent  from  the  Cross;   Madonna  of  the  Star; 
Angel  pictures  around  the  Madonna  of  the  Tabernacle. 


KUGLER,  It.  Schools  of  Painting,  Vol.  i, 

pp.  179-86. 
Llkbke,    Hist.    Art,    Vol.   2,  pp.    11 1-4; 

Men.  Art,  pi.  67,  text  pp.  250-1. 
K.NIGHT,  Pict.  Gal.  Arts,  Vol.  2,  text  p. 

35°- 

Hkaton,  Hist.  Painting,  pp.  81-6. 

Jamkso.n,  It.  Painters,  pp.  89-94;  Hist: 
Our  Lord,  Vol.  i,  pp.  266-7,  35S;  Vol. 
2,  pp.  16-7,  76-7,  188-93,  229,  259-60, 
409,  413-6;  Legends  of  the  Madonna, 
pp.  17-9;  Sacred  Art,  Vol.  i,pp.  loo-i, 
265-6;  Vol.  2,  pp.  438-9.  536-7- 

Lanzi,  Hist.  Painting,  Vol.  I,  pp.  75-6. 

WoLTMANNandWoERMANN,  Hist.  Paint- 
ing   Vol  2,  pp.  2S1-7. 

Vasari,  Lives,  Vol.  2,  pp.  24-40. 


D'Agincolkt,  Hist.  Art,  Vol.  3,  pi.  145. 
Ottlky,    Early  Florentine  Schools,   pis. 

40-1. 
ViARDOT,  Hist.  Painters,  pp.  48-9. 
Hark,  It.  Cities,  Vol.  3,  pp.  118-22,  127. 
Phili.IMORE,  Fra  Angelico,  pp.  25-56. 
SWEETSKR,  Fra  Angelico. 
Tytler,  Old  Masters,  pp.  36-40. 
Taine,    Florence   and  Venice,    pp.    8-9, 

131-9;  Ideal  in  Art,  pp.  175-6. 
Jarves,  Art  Hints,  pp.  341-2,  344-7;  Art 

Studies,  pp.  230-40. 
RisKiN,    Stones   of  Venice,  Vol.    i,  pp. 

428-30 
Tyrwhitt,  Pictorial  Art,  pp.  92-9. 
MUNTZ,  Raphael,  p.  123. 


5.  Masaccio  (Tommaso  Guidi),the  greatest  pioneer 
master  of  realism  in  painting  (i  402-1 429);  his  frescoes 
in  the  Brancacci  chapel;  in  the  church  Santa  Maria  del 
Carmine  at  Florence;  the  characteristics  of  these  frescoes 
making  pupils  of  all  the  succeeding  masters  down  to  the 
time  of  Raphael. 

WoRNiJM,  Epochs  of  Painting,  pp.  123-5. 
KuuLKK,  It.  Schools  of  Painting,  Vol.  i, 

pp.  220-4. 
Llkhke,   Hist.    Art,   Vol.   2,   pp.    203-8; 

Mon.  Art,  pi.  67A,  text  p[).  210-1. 
K.NIGHT,    Pict.    Gal.   Arts,   Vol.   2,   II.  p. 

344,  t:xt  pp.  347  50. 
Jameson,  It.  Painters,  pp.  75  83;  Sacred 

Art,  Vol.  I,  pp.  210-1. 
Hkaton,  Hist.  Painting,  pp.  79-81. 
Lanzi,  Hist.   Painting,  Vol.  i,  pp.  73-5. 


Woi.TMANN  and  WoERMANN,  Hist.  Paint- 
ing, Vol,  2,  ])p.  276-8, 
Mini/.,  Raphael,  pp.  105-6. 
TvRWiin  r,  Picioriul  An,  pp.  100-109. 
Vasaki,  Lives,  Vol.  i,  pp.  401-13. 
ViAUDor,  Hist.  Painters,  p]i.  51   2. 
Tyti.ku,  Old  Masters,  pp.  35-6. 
D'Agincourt,    Hist.    Art,    Vol.   3,    pis. 

'47-55- 
Otti  EY,  Early  ?'lorentine  Painters,   pis. 
42-4. 


65 


HISTORY  OF  PAINTING. 


KoEHLKK,  Hist.  Art,  pi.  200. 
DoHMK,  Early  Masters,  pp.  292-315. 
Phii.i.imork,  Fra  Angelico,  pp.  16-24. 


Symonds,  Renaissance,  pp.  228-31. 
J.VRVKS,  Art  Studies,  pp.  253-8. 
Taine,  Florence  and  Venice,  pp.  123-7. 


6.  Other  masters  contributing  to  the  great  develop- 
ment of  this  period;  Paolo  Uccello  (1396- 1469?)  and 
Pietro  della  Francesca  (141 5-1 509?) — perspective  and 
foreshortening. 


Woi.TMAN.N'  and  Woermann,  Hist.  Paint- 
ing, Vol.  2,  pp.  287-8. 

KuGLER,  It.  Schools  of  Painting,  Vol.  I, 
pp.  216-7,  255-8. 

LUEBKK,  Hist.  Art,  Vol.  2,  p.  220. 

Heaton,  Hist.  Painting,  78-9. 

Vasari,  Lives,  Vol.  i,  pp.  348-61;  Vol. 
2,  pp.  13   23. 


Lanzi,  Hist.  Painting.  Vol.  2,  pp.  23-6. 
ViARDOT,  Hist.  Painters,  pp.  50-1,  73-4. 
Phillimore,  Fra  Angelico,  pp.  2-10. 
Symonds,  Renaissance,  pp.  231-2. 
Jarves,  Art  Studies,  pp.   250-3,  269-70. 
KoEHLER,  Hist.  Art,  pi.   201. 
Otti.ey,  Florentine  Schools,  pi.  33. 
D'.\i;iNCOURT,  Hist.  Art,  Vol.  3,  pi.  146. 


7,  Followers  of  Masaccio  and  of  Angelico;  Fra 
Filippo  Lippi  (1412-1469);  Benozzo  Gozzoli  (1424- 
1496). 


Woltmann  and  Woermann,  Hist.  Paint- 
ing, Vol.  2,  pp.  289-94,  305-8. 

Kt'GLER,  It.  Schools  of  Painting,  Vol.  i, 
pp.  224-7,  236-9. 

LuEBKE,  Hist.  Art,  Vol.  2,  pp.  208-10, 
214-7. 

Knight,  Pict.  Gal.  Arts,  Vol.  2,  II.  p. 
344,  text  p.  350. 

Jameson,  It.  Painters,  pp.  84-8,  95-101; 
Hist.  Our  Lord,  Vol.  i,  pp.  305-7. 

Lanzi,  Hist.  Painting,  Vol.  i,  pp.  77-80. 

Vasari,  Lives,  Vol.  2,  pp.  73-87,  115-21. 

WoRNUM,  Epochs  of  Painting,  pp.  127-9. 


Heaton,  Hist.  Painting,  pp.  86-92. 
Phillimore,   Fra  Angelico,  pp.  58-67, 

74-80. 
DoHMi:,  Early  Masters,  pp.  317-32. 
ViARDoT,  Hist.  Painters,  pp.  52-3. 
Ottley,   Early  Florentine  Schools,   pis. 

46-9. 
D'Agincourt,  Hist.  Art,  Vol.  3,  pi.  163. 
Koehler,  Hist.  Art,  pi.  201. 
Symonds,  Renaissance,  pp.  239-47. 
Jarves,  Art  Thoughts,  pp.  258-66, 302-6. 
Taine.  Florence  and  Venice,  p.  127. 


HISTORY  OF  PAINTING.  67 


VI.— THE  SECOND  GENERATION  OF  CLASSIC  REALISTS. 


DEVELOPMENT  OF  THE  DRAMATIC  ELEMENTS  IN  PAINTING  AND  THE 
MORE  SKILFUL  USE  OF  COLOR. 

[i45o-i5cx»  A.  v.] 

1.  The  respective  aesthetic  tendencies  of  Umbria, 
Padua,  Florence  and  Venice. 

KUGLER,    It.    Schools  of  Painting,    Vol.  Lanzi,   Hist.   Painting,  Vol.    I,  pp.  147- 

2,  pp.  290-2,  325-6.  50;  Vol.  3,  pp.  91-9. 

Lukbke,    Hist.    Art,    Vol.    2,    pp.     211,  Tai.nk,  Florence  and  Venice,  pp.  iio-i. 

223-4,240-2.  Jarves,  Art  Studies,  pp.  312-5,  319-20. 

VlARDOT,  Hist.  Painters,  pp.  34-7,  73.  Svmo.nds,  Renaissance,  pp.  180-4. 

2.  The  influence  of  the  Medici  on  art — Cosmo, 
Lorenzo  and  Leo  X.  Influence  of  Leon  Battista  Alberti's 
three  books  on  painting  (1540). 

Grimm,  M.   Angelo,   Vol.   i,  pp.  27-32,  Woi.tmann      and     Wokrmann,     Hist. 

90  118.  Painting,  pp.  267-8. 

Lanzi,  Hist.  Painting,  Vol.  i,  pp.  68-70.  RoscoE,  Lorenzo  De  Medici,  pp.  306-12, 

Taine,  Florence  and  Venice,  ii]).    II1-9.  316  24. 
Symonds,  Renaissance,  pp.  262-5. 

3.  Sandro  BotticelH  (1447-15  15);  History  of  Moses, 
Temptation  of  Christ  and  Punishment  of  Korah,  in  the 
Sistine  Chapel;  Madonna  with  angels  and  the  Birth  of 
Venus,  in  the  Uffizi  gallery,  Florence. 


68 


HISTORY  OF  PAINTING. 


WoLTMANNandWoERMANN,  Hist.  Paint- 
ing, Vol.  2,  pp.  294-7. 

KuGLER,  It.  Schools  of  Painting,  Vol.  i, 
pp.  229-30. 

LUKBKE,  Hist.  Art,  Vol.  2,  pp.  2lo-i; 
Mon.  Art,  Vol.  2,  pi.  67A,  text  pp. 
2IO-I. 

Heaton,  Hist.  Painting,  p.  94. 

Jameso.n,  It.  Painters,  pp.  104-5; 
Legends  of  the  Madonna,  pp.  11 1-2, 
202-3,  256;  Hist.  Our  Lord,  Vol.  i,  p- 
312;  Vol.  2,  p.  230. 


Lanzi,  Hist.   Painting,  Vol.  i,  pp.  35-6. 
Vasari,  Lives,  Vol.  2,  pp.  230-40. 
VlARDOT,  Hist.  Painters,  pp.  58-9. 
Dohme,  Early  Masters,  pp.  341-55. 
Otti.ey,    Early   Florentine  Schools,   pi. 

50- 
Symonds,  Renaissance,  pp.  249-55. 
Jarves,  Art  Studies,  pp.  266-9. 
Phii.limoue,  Fra  Angelico,  pp.  90-5. 
D'Agi.ncourt,  Hist.  Art,  Vol.  3,  pi.  173. 
KoEHLER,  Hist.  Art,  pis.  201  3. 


4.  Luca  Signorelli  (i 441 -15 23);  his  great  fresco 
paintings  in  the  Cathedral  of  Orvieto ;  Madonna  alterpiece 
in  the  Academy  at  Florence;  School  of  Pan,  in  the  Museum 
at  Berlin;  Meeting  of  Moses  and  Joshua. 


WOLTMANN  and  VVoERMANN,  Hist.  Paint- 
ing, Vol.  2,  342-9. 
Kl'GLER,  It.  Schools  of  Painting,  Vol.  i, 

pp.  247-51. 
LuEBKE,    Hist.   Art,  Vol.  2,  pp.  220-1 ; 

Mon.    Art,    Vol.    2,    pi.    67,    text   pp. 

209-10. 
Knight,  Pict.   Gal.  Arts,  Vol.  2,  II.  p. 

344,  text  p.  350. 
Jameson,  It.  Painters,  p.    105;  Legends 

of  the  Madonna,  pp.  131-2;  Hist.  Our 

Lord,  Vol.  2,  pp.  410-1. 


Heaton,  Hist.  Painting,  pp.    105-7. 
Lanzi,  Hist.  Painting,  Vol.  i,  pp.  98-9. 
Vasari,  Lives,  Vol.  2,  pp.  347-56. 
Viardot,  Hist.  Painters,  pp.  57-8. 
Ottley,   Early  Florentine  Schools,  pis. 

52-4- 
Symonds,  Renaissance,  pp.  279-94. 
Phili.imore,  Fra  Angelico,  pp.  110-4. 
Pater,  Renaissance,  pp.  54-67. 
D'Agincourt,  Hist.  Art,  Vol.  3,  pi.  156. 
KoEHLER,  Hist.  Art,  pis.  202-4. 
Worn um,  Epochs  of  Painting,  pp.  160-1. 


5.  Andrea  Mantegna,  the  plastic  or  sculpturesque 
painter  and  the  master  of  the  Paduan  School  ( 1 43 1  - 1 506) ; 
Madonna  della  Vittoria  in  the  Louvre;  series  of  paintings, 


HISTORY  OF  PAINTING.  69 

the   Triumph  of  Caesar,  now  at  Hampton    Court;  Judith 
with  the  head  of  Holofernes. 


KUGLER,  It.  Schools  of  Painting,  Vol.  i,  Lanzi,  Hist.  Painting,  Vol.  3,   pp.   70-2; 

pp.  294-9.  Vol.  4,  pp.  6-1 1. 

LuEBKE,    Hist.  Art,  Vol.  2,  pp.   224-9;  Vasari,  Lives,  Vol.  2,  pp.  267-73. 

Mon.  Art,  Vol.  2,    pis.   67A,  69,  text  Viaroot,  Hist.  Painters,  pp.  66-7. 

pp.  210,  212.  TvTLER,  Old  Masters,  pp.  64-9. 

Knight,  Pict.  Gal.  Arts,  Vol.  2,  II.   p.  Dohme,  Early  Masters,  pp.  373-401. 

345,  text  p.   351.  Symonds,  Renaissance,  pp.  266  7S. 

Jameson,  It.  Painters,  pp.  113-33;  Hist.  Jarves,  Art  Studies,  pp.  31 1-2. 

Our  Lord,   Vol.   2,   pp.    168-9,   230-1,  D'Agincourt,    Hist.    Art,    Vol.    3,   pis. 

238-9.  139-40. 

KOEHi.ER,  Hist.  Art,  pi.  205.  Carr,  It.  Masters,  pis.  1-2,  text  pp.  I-5. 

6.  Giovanni  Bellini,  the  painter  of  every  excellence 
in  moderate  degree  and  the  founder  of  the  Venetian 
school  (1422-15 1 6);  his  various  Pietas;  Madonna  with 
Saints  and  Singing  Angels;  Feast  of  the  Gods. 


Kugler,  It.  Schools  of  Painting,  Vol.  2,  Lanzi,  Hist.  Painting,  Vol.  3,   pp.   50-7. 

pp.  327-32.  Vasari,  Lives,  Vol.  2,  pp.  159-73. 

LuKBKE,    Hist.   Art,   Vol.  2,  pp.  234-9;  Knight,  Pict.   Gal.  Arts,   Vol.  2,  II.  p. 

Mon.   Art,  Vol.  2,  pi.  69,  text  p.  212.  344,  text  j).  351. 

Jameson,     It.     Painters,     pp.      134-40;  Viakdot,  Hist.  Painters,  pp.  82-3. 

Legends  of  the  Madonna,  pp.  109-10.  Tyti.iir,  C)ld  Masters,  pp.  54-64. 

Heaton,  Hist.  Painting,  pp.  199-211.  D'.Vgincourt,  Hist.  Art,  Vol.  3,  pi.  143. 

SymonDS,  Renaissance,  pp.  365-6.  WoRNl'M,  Epochs  of  Painting,  pp.  176-9- 


7.  Filippino  Lippi  (1459-1504);  his  fresco  paintings 
in  the  Brancacci  chapel;  Triumph  of  St.  Thomas  over  the 
Heretics,  in  the  church  of  Santa  Marie  sopra  Minerva, 
Florence;  vision  of  St.  Bernard,  in  the  Badia,  Florence. 


70 


HISTORY  OF  PAINTING. 


WOLTMANN  and  WoERMANN,  Hist.  Paint- 
ing, Vol.  2,  pp.  299-303. 

KucLER,  It.  Schools  of  Painting,  Vol.  2, 
pp.  232-5. 

Llebke,  Hist.  Art,  Vol.  2,  pp.  211-12; 
Mon.  Art,   Vol.  2,  pi.  67,  text  p.  209. 

Heaton,  Hist.  Painting,  pp.  94-6. 

Lanzi,  Hist.  Painting,  Vol.  i,  pp.  92-4. 

Vasari,  Lives,  Vol.  2,  pp.  174-84. 


ViARDOT,  Hist.  Painters,  p.  60. 
DoHME,  Early  Masters,  pp.  330-41. 
D'Agincourt,  Hist.  Art,  Vol.  3,  pi.  149. 
Ottley,    Early  Florentine  Schools,    pi. 

51- 
Jarves,  Art  Studies,  pp.  282-7. 
Symonds,  Renaissance,  pp.  247-9. 
Taine,  Florence  and  Venice,  p.  127. 
WoRNUM,  Epochs  of  Painting,  pp.  156-7. 


8.  Domenico  Ghirlandajo,  the  master  of  "motive" 
who  completed  the  development  which  Masaccio  began 
(1449-1494);  Calling  of  Peter  and  Andrew,  in  the  Sistine 
Chapel;  Birth  of  the  Virgin;  Adoration  of  the  Magi,  in 
the  Church  of  the  Innocents,  Florence. 


WOLTMANN  and  Woermann,  Hist.  Paint- 
ing, Vol.  2,  pp.  315-20. 

KUGI.ER,  It.  Schools  of  Painting,  Vol.  i, 
pp.  239-44. 

LuEBKE,  Hist.  Art,  Vol.  2,  pp.  217-20; 
Mon.  Art,  Vol.  2,  pi.  67,  text  pp.  209-10. 

Heaton,  Hist.  Painting,  pp.  96-100. 

Jameson,  It.  Painters,  pp.  106-12;  Hist. 
Our  Lord,  Vol.  I,  pp.  263-4,  374; 
Legends  of  the  Monastic  Orders,  pp. 
266-7. 

Lanzi,  Hist.  Art,  Vol.  i,  pp.  94-6. 


Vasari,  Lives,  Vol.  2,  pp.  200-20. 
VlARDOT,  Hist.  Painters,  p.   59. 
Tytler,  Old  Masters,  pp.  69-73. 
Knight,   Pict.   Gal.  Arts,  Vol.  2,  II.  p. 

345- 
DoHME,  Early  Masters,  pp.  356-72. 
Koehler,  Hist.  Art,  pi.  203. 
Jarves,  Art  Studies,  pp.  287-90.16 
Symonds,  Renaissance,  pp.  258-61. 
Grimm,  M.  Angelo,  Vol.  i,  pp.  83-90. 
Taine,  Florence  and  Venice,  pp.  127-30. 
Tyrvvhitt,  Pictorial  Art,  pp.  111-21. 


9.  Pietro  Vannucci  Perugino,  the  first  great  master 
of  the  Umbrian  school  (i 446-1 524);  Christ's  Charge  to 
Peter,  in  the  Sistine  Chapel,  series  of  frescoes  in  the  Sala 
del  Cambio,  Perrugia;  Pieta  in  the  Pitti  Palace;  Madonna 
Enthroned  and  Four  Saints,  at  Perugia. 


HISTORY  OF  PAINTING. 


71 


WOLTMANN       and      WOERMANN,       Hist. 

Painting,  Vol.  2,  350-60. 
Klgler,  It.  Schools  of  Painting,  Vol.  i, 

pp.  269-71. 
LuEBKE,  Hist.  Art,  Vol.  2,  pp.  242-3. 
HeaTON,  Hist.  Painting,  pp.  I10-6. 
Lanzi,  Hist.  Painting,  Vol.  2,  pp.  29-32. 
MuNTZ,  Raphael,  pp.  27,  32-3. 


Jameson,  It.  Painters,  pp.  104-5. 
ViARDOT,  Hist.  Painters,  p.  76. 
Vasari,  Lives,  Vol.  2,  pp.  306-8. 
Taine,  Florence  and  Venice,  pp.  9-15. 
Symonds,  Renaissance,  pp.  294-5,  297- 

301. 
Jarves,  Art  Studies,  pp.  324-7. 
WoRNUM,  Epochs  of  Painting,  pp.  163-6. 


10.     The  best  period  of  Perugino  (1490-1505);  the 
period  and  the  occasion  of  his  decline. 


KuGi.ER,  It.  Schools  of  Painting,  Vol.  i,       D'Agincoitrt,  Hist.  Art,  Vol.  3,  pi.  182. 
pp.  271-5.  Lanzi,  Hist.  Painting,  Vol.  2,  pp.  32-4. 

LiEBKE,  Hist.  Art,  Vol.  2,  pp.   243-5;       Vasari,  Lives,  Vol.  2,  pp.  308-23. 


Mon.  Art,  Vol.  2,  pi.  70,  text  p.  213. 
Jameson,     It.     Painters,      pp.       147  8 

Legends  of  the  Madonna,   j)p.  261 -2 

Hist.    Our    Lord,    Vol.    I,    pp.   312-3 

Vol.  2,  pp.  230  I,  310   I. 
Kokiii.er,  Hist.  Art.  pi.  205. 


Carr,  It.  Masters,  pis.  3-4,  text  pp.  7-8. 
ViARDOT,  Hist.  Painters,  pp.  76  7. 
(jRiMM,  M.  Angelo,  Vol.  i,  pp.  309-10. 
Jarves,  Art  Studies,  pp.  327-33. 
•SVMONDS,  Renaissance,  pp.  295-6,   299- 
300. 


1 1.  Fra  Bartolommeo,  or  Baccio  della  Porta  (1475— 
1 517);  Holy  Family,  in  the  Cowper  collection;  Marriage 
of  St.  Catherine;  Madonna  della  Misericordia,  in  San 
Romano,  Lucca;  Pieta,  in  Pitti  Palace,  Florence. 


Woi.TMANN     and      Woekmann,     Hist. 

Painting,  Vol.  2,  pp.  5^13=20.  .:  ,■  -        -> 

Ki ci.KK,  It.  Schools  of  Painting,  Vol.  2, 

PP-  390-5. 
LiEUKE,    Hist.    .\rt,   Vol.   2,  pj).  315  8; 

Mon.    Art,    Vol.    2,    pi.   67,  text  pp. 

325  6. 
K.NKiiiT,  Pict.   Gal.  Art.s,   Vol.  2,  II.   p. 

345,  text  jip.  354-5- 
Mi.NTZ,  Raphael,  pp.  112  13. 


Vasari,  Lives,  Vol.  2,  p[).  445-63. 
TvTl.ER,  Old  NListers,  pp.  77-81. 
ViARDOT,  Hist.  Painters,  pp.  97-8. 
Oi.il'ilANT,     Makers     of    Florence,     pp. 

347  5i- 
Dohme,  Early  Masters,  pp.  402  21. 
Scott,  Fra  Hartolonimco,  pp.  1-70. 
D'AcwNcurKT,  Hist.  Art.  Vol.  3,  pl,  200. 
HAMii.Tf)N,  .Schola  Italica,  pl.  6. 


72 


HISTORY  OF  PAINTING. 


Heaton,  Hist.  Painting,  pp.  137-41. 
Lanzi,  Hist.  Painting,  Vol.  i,  pp.  187-93. 
Jameson,     It.     Painters,     pp.      159-69; 
Legends  of  the  Monastic  Orders,  p.  374. 


Taine,  Florence  and  Venice,  pp.   158-9; 

Rome  and  Naples,  pp.  165-6. 
Symonds,  Renaissance,  pp.  304-10. 
Jarves,  Art  Studies,  pp.  338-48. 


12.  Andrea  (Angeli)  del  Sarto  (1487-1531):  his 
Last  Supper,  in  the  convent  of  San  Salvi;  Madonna  del 
Sacco;  Dispute  on  the  Holy  Trinity;  Madonna  of  St. 
Francis. 


KuGLER,  It.   Schools   of  Painting,    Vol. 

2,  pp.  399-403- 

LuEBKE,  Hist.  Art,  Vol.  2,  pp.  318-22; 
Mon.  Art,  Vol.  2,  pis.  76,  79A,  text  pp. 
226-7,  234. 

Jameson,  It.  Painters,  pp.  223-7;  Sacred 
Art,  Vol.  I,  pp.  272-3;  Hist.  Our 
Lord,  Vol.  I,  pp.  164-7,  308-9;  Le- 
gends of  the  Madonna,  pp    148-9. 

Woi.TMANN  and  Woermann,  Hist. 
Painting,  V'ol.  2,  pp.  513-20. 


Jarves,  Art  Studies,  pp.  363-70. 
Lanzi,  Hist.   Painting,  Vol.  i,  pp.   194- 

202. 
Vasari,  Lives,  Vol.  3,  pp.   180-236. 
Heaton,  Hist.  Painting,  pp.  189-93. 
VlARDOT,  Hist.  Painters,  pp.  99-102. 
Tyti.er,  Old  Masters,  pp.  81-2. 
Dohme,  Early  Masters,  pp.  422-47. 
Scott,  Fr-a  Bartolommeo,  pp.   72-114, 
Carr,  It.  Masters,  pi.  17,  text  pp.  31-2. 


HISTORY  OF  PAINTING. 


73 


VII.— LEONARDO  DA  VINCI. 


THE  UNIVERSAL  (.ENIUS. 


[1452-1519  A.   1)  ] 


I.     Leonardo   da    Vinci;    outlines    of    his    life;    his 
genius  and  gifts  and  their  comparative  unfruitfulness. 


KUGLER,  It.  Schools  of  Painting,  Vol.  2, 

PP-  347-9- 
LuEBKE,    Hist.    Art,  Vol.  2,  pp.  280-3. 
Knight,    Pict.   Gal.  Arts,    Vol.    2,  text 

pp.  351  4- 
Jameson,  It.  Painters,  pp.   170-7. 
Vasaki,  Lives,   Vol.   2,  pp.  366-75. 
Heaton,  Hist.  Painting,  pp.  122-6. 
WOLTMANN       and       WOERMANN,      Hist. 

Painting,  Vol.  2,  pp.  461-4. 


Tytler,  Old  Masters,  pp.  83-7. 
LacroI-X,  Arts  of  Mid.  Ages,  pp.  92-3. 
Svveetser,  Leonardo  da  Vinci,  pp.  7-4i» 

54-7,  63  75,  93-140. 
Jarves,  Art  Studies,  pp.  380-90. 
RUSKIN,  S  ones  of  Venice,  Vol.  2,  p.  189. 
Symonds,  Renaissance,  pp.  311-25. 
Pater,  Renaissance,  pp.  105  26. 
Grimm,  M.  Angelo.Vol.  i,  pp.  48-56. 
Wornum,  Epochs  of  Painting,  pp.  186-8, 


2.     Leonardo's  life  and  works  at  Milan;  history  and 
analysis  of  his  Last  Supper. 


WoLTMANN      and      WoermaNN,     Hist. 

Painting,  Vol.  2,  pp.  464-71. 
KuGLER,  It.  Schools  of  Painting,  Vol.  2, 

PP-  351-7- 
LUEBKK,   Hist.   Art,    Vol.   2,   pp.   284-6; 
Mon.  Art,  Vol.  2,  pi.  74,  text  pp.  22-3. 


Heaton,  Hist.  Painting,  pp.  126-31. 
SWEETSER,  Leonardo  da  Vinci,  pp.  42-53. 
Tyti.ek,  Old  Masters,  pp   ?7-8,  92-4. 
DWgincourt,    Hist.    Art,    Vol.   3,  pis. 

175-6. 
KoEiU-ER,  Hist.  Art,  pi.  207. 


74 


HISTORY  OK  PAINTING. 


Knight,  Pict.  Gal.  Arts,    Vol.  2,  II.  p. 

348,  text  pp.  354. 
Jameson,  It  Painters,  pp.  178-81;  Hist. 

Our  Lord,  Vol.  2,  pp.  21-3. 
Lanzf,  Hist.  Painting,  Vol.  4,  pp.  244-7. 
Vasari,  Lives,  Vol.  2,  pp.  376-82. 
VlARDOT,  Hist.  Painting,  pp.  92-4. 


Grimm,  M.  Angelo,  Vol.  1,  pp.  239-42. 
Blanc,  Grammar  of  Painting,  pp.  80-3. 
Jarves,  Art  Studies,  pp.  391-9. 
Taine,  Florence  and  Venice,  pp.  350-3. 
Symonds,  Renaissance,  pp.  325-7. 
Pater,  Renaissance,  pp.  128-32. 
WoRNUM,  Epochs  of  Painting,  pp.  189-90. 


3.  A  full  and  critical  history  of  the  treatment  of  the 
subject  of  the  Last  Supper  in  painting,  especially  by 
Giotto,Angelico,  Signorelli,  Ghirlandajo,  Raphael,  Andrea 
del  Sarto  and  Titian. 


WoLTMANN     and      WoERMANN,     Hist.       Jameson,    Hist.   Our  Lord,  Vol.  2,  pp 
Painting,   Vol.    I,  pp.  284-5;  Vol.   2,  18-21;  Sacred  Art,  Vol.  1,  pp.  261-77. 

refer  by  the  index. 


4.     Leonardo's  life  and  works  at  Florence;  Battle  of 
the  Standard;  Mona  Lisa;  St.  Anna  and  the  Virgin. 


WOLTMANN       and       WOERMANN,       Hist. 

Painting,  Vol.  2,  pp.  471-3. 
KUGLER,  It.  Schools  of  Painting,  Vol.  2, 

pp.  349  51.357-61. 
LuEBKE,  Hist.  Art,  Vol.  2,  pp.  278-90; 

Mon.  Art,  Vol.  2,  pi.  74,  textp.223. 
Heaton,  Hist.  Painting,  pp.   13 1-4. 
Jameson,  It.  Painters,  pp.  181-9. 
ViARDOT,  Hist.  Painters,  pp.  89-91. 
Sweetser,  Leon,  da  Vinci,  pp.  55-9,  62-5. 
Wornum,  Ep.  of  Painting,  pp.  190-3. 


Tyti.er,  Old  Masters,  pp.  89-90. 
Muntz,  Raphael,  pp.  107-8. 
Lanzi,   Hist.   Painting,  Vol.  4,  p.  224. 
Vasari,  Lives,  Vol.  2,  pp.  382-7. 
Wilson,  M.  Angelo,  pp.  69-71. 
Grimm,  M.  Angelo,  Vol.   i,  pp.  243-5, 

2S9-91 . 
Hamilton,  Schola  Italica,  j-l.  5. 
T.vine,  Florence  and  Venice,  pp.    155-6. 
Pater,  Renaissance,  pp.  132-9. 
Jarves,  Art  Studies,  pp.  399-401. 


5.      Other  works  showing  the  great  versatility  of  this 
master. 


HISTORY  OF  PAINTING. 


75 


WoLTMANN  and  WoERMANN,  Hist.  Paint- 
ing, Vol.  2,  pp.  474-5- 

KlJGLER,  It.  Schools  of  Painting,  Vol.  2, 
pp.  359-60. 

ViARDOT,  Hist.  Painters,  pp.  89-92. 


Heaton,  Hist.  Painting,  pp.  30-1. 
Vasari,  Lives,  Vol.  2,  pp.  173,  383,  387. 
D'Agincourt,  Hist.    Art,   Vol.   3,    pis. 

174-5- 
CARR,It.  Painting,  pis.  9-I  i,  text  pp.  15-7. 


VIII.— MICHAEL  ANGELO  AS  A  PAINTER. 


[1475- 1  564  A.    1>-1 


I.  General  outline  of  Michael  Angelo's  life,  as  to 
places  of  residence,  journeys,  patrons  and  greatest  works 
— the  whole  in  chronological  order. 


WoLTMANNandWoERMANN,  Hist.  Paint- 
ing, Vol,  2,  pp.  487-8. 
KuGLER,  Tt.  Schools  of  Painting,  Vol.  2, 

pp.  370-4- 
LuEBKE,  Hist.    Art,  Vol.  2,   pp.   301-2, 

3"-5- 
Heaton,  Hist.  Painting,  pp.  169-75. 
Jameson,  It.  Painters,  pp.  191-203,  207- 

10,  214-22. 
I,ANZI,  Hist.  Painting,  Vol.  i,  pp.  162-7; 

176  8. 
Vasari,  Lives,  Vol.  5,  pp.  227-44,  246- 

54,  267-80,  291-370. 
ViAUDOT,  Hist.  Painters,  pp.  105-6. 
r.i.ACK,  M.  Angelo,  pp.  147-21S. 
Wilson,  M.  Angelo. 
CIrimm,  M.  Angelo. 
Carr,  It.  Masters,  pp.  21-2. 


SwEETSER,  M.  Angelo. 

RoscoE,    Lorenzo   De   Medici,    pp.    78, 

313-9- 
Clement,  M.  Angelo. 
Jarves,  Art  Studies,  pp.  412-28. 
Taine,    Rome   and   Naples,    pp.    186-9; 

Florence  and  Venice,  pp.  147-9;  Ideal 

in  Art,  pp.  21-4. 
Symonds,  Renaissance,  pp.  342-4,  384- 

95.  397  402,  413-23.  428-36,  512-28. 
Pater,  Renaissance,  pp.  78-104. 
Reynolds,   Discourses  on   An,  Vol.   i, 

pp.  370-4;  Vol.  2,  pp.  306-19,  348-50. 
Oi.ii'HANT,    Makers    of    Florence,     pp. 

352-62,  364-84,  386-9. 
TvTi.i.R,  Old  Masters,  pp.  96-102,  104-5, 

107-1 1. 


2.     Michael    Angelo's    first  great  cartoon — Soldiers 
Bathing  in  the  Arno. 


76 


HISTORY  OF  PAINTING. 


MuNTZ,  Raphael,  Eng.  ed.  pp.   107-8. 
KUGLER,  It.  Schools  of  Painting,  Vol.  2. 

PP-  374-5- 
LUEBKE,   Hist.  Art,  Vol.  2,  pp.    302-4; 

Mon.  Art,  Vol.  2,  pi.  77,  text  p.  229. 
Jameson,  It.  Painters,  pp.  198-9. 
Lanzi,  Hist.  Painting,  Vol.  i,  pp.  167-9. 
Vasari,  Lives,  Vol.  5,  pp.  244-6. 
Heaton',  Hist.  Painting,  pp.  175-6. 
ViARDOT,  Hist.  Painters,  pp.  106,  109-12. 
SWEETSER,  M.  Angelo,  pp.  31-3. 
Clement,  M.  Angelo,  pp.  23-6. 


Grimm,  M.  Angelo,  Vol.  i,  pp.  287- 
90,  426-9. 

Wilson,  M.  Angelo,  pp.  68,  71,  87-90. 

Black,  M.  Angelo,  pi.  16,  pp.  20-1,  56-7. 

BoHN,  Angelo's  Works,  pi.  29,  text 
p.   7. 

Jarves,  Art  Studies,  pp.  431-2. 

Symonds,  Renaissance,  pp.  395-7. 

Oliphant,   Makers  of  Florence,  p.  363. 

WoLTMAVNandWoERMANN,  Hist.  Paint- 
ing, Vol.  2,  p.  489. 


3.  The  ceiling  of  the  Sistine  Chapel;  architectural 
analysis;  subjects  and  description  of  the  four  wide  and  the 
five  narrow  frescoes;  the  twelve  triangular  pendentive  and 
the  corner  frescoes;  the  artistic  unity  of  the  whole. 


WOLTMANN        and       WOERMANN,      Hist. 

Painting,  Vol.  2,  pp.  490-4. 
KuGLER,  It.  Schools  of  Painting,  Vol.  2, 

PP-  375-81,  387-9- 
LUEBKE,    Hist.    Art,    Vol.   2,  pp.  304-8; 

Mon.    Art,    Vol.    2,    pi.    77,    text    pp. 

227-8. 
Knight,  Pict.  Gal.  Arts,  Vol.  2,  II.  p. 

349,  text  pp.  355,  358. 
Jam::son,   It.    Painters,  pp.  203-7;  Hist. 

Our  Lord,  Vol.  i,  pp.  83-4,  93,   103-5, 

128-9,  252-6. 
Lanzi,    Hist.     Painting,     Vol.     i,     pp. 

169-71. 
Vasari,  Lives,  Vol.  5,  pp.  254-67. 
VlARDOT,  Hist.  Painters,  pp.  106-8. 
Wilson,  M.  Angelo,  pis.  9-10,  text  pp. 

1 1 7-90. 
Black,  M.  Angelo,  pis.  10-3,  pp.  32-46, 

108-200. 


Heaton,  Hist.  Painting,  pp.  177-9. 
Tytij;r,  Old  Masters,  pp.  33-4. 
Hare,  Walks  in  Rome,  pp.  541-4. 
Grimm,  M.  Angelo,  Vol.  i,  pp.  315-48, 

374-8. 
Sweetskr,  M.  Angelo,  pp.  48-58. 
Clement,  M.  Angelo,  pp.  38-44. 
D'Agincourt,    Hist.    Art,    Vol.  3,   pis. 

200,  203. 
Hamilton,  Schola  Italica,  pis.   1-4. 
Ottley,  Florentine  Schools,  pi.  55. 
Koehler,  Hist.  Art,  pi.  208. 
Jarves,  Art  Thoughts,  pp.  90  3. 
Taine,  Rome  and  Naples,    pp.    189-94^ 

344- 
Symonds, Renaissance,  pp.  344-6,404-12. 
Blanc,  Grammar  of  Painting,  pp.  77-80. 
Oliphant,     Makers    of    Florence,    pp. 

370-1- 


HISTORY  OF  PAINTING. 


77 


4.  The  Sistine  fresco  of  The  Last  Judgment;  its 
composition  compared  with  that  of  other  frescoes  of  the 
same  subject. 


WoLTMANNandWoKRMANN,  Hist.  Paint- 
ins,  '^'ol  2,  pp.  495  6. 

Kl'GLER,  It.  Schools  of  Painting,  Vol. 
2,  pp.  382-5. 

LUKBKE,  Hist.  Art,  Vol.  2,  pp.  308-11; 
Mon.  Art,  Vol.  2,  pi.  77,  text  pp. 
288-9. 

WiLSO.N,  M.  Angelo,  pi.  16,  pp.  405-35. 

Laxzi,  Hist.  Painting,  Vol.  i,  pp.  171-5. 

Vasari,  Lives,  Vol.  5,  pp.  280-2,  285-90. 

Knight,  Pict.  Gal.  Arts,  Vol.  2,  text  p. 

359- 
ViARDOT,  Hist.  Painters,  pp.  108-9. 
Heaton,  Hist.  Painting,  pp.  182-4. 
Hake,  Walks  in  Rom:,  pp.  545-9. 
Eaton,  Rome,    19th  Cent.,  Vol.  2,  pp. 

39-43- 
Grimm,  M.  Angelo,   Vol.  2,  pp.  200-22. 
Clement,  M.  Angelo,  pp.  62-7. 


Jameson,     It.      Painters,      pp.      210-4; 

Hist.  Our  Lord,  Vol.  2,  pp.  392-416. 
Bi.ACK,  M  Angelo,  pi.  14,  pp  84-100. 
BoHN,   M.  Angelo's  Works,   pi    26,  text 

P-5 
D'Agincourt,    Hist.    Art,     Vol.    3,    pi. 

180. 
Sweetser,  M.  Angelo,  pp.  98-104. 
K0EHI.ER,  Hist.  Art,  pi.  208. 
Jarves,    Art   Studies,    pp.     429-31,    Art 

Hints,  pp.  250-1. 
Ri;sKlN,  Mod.   Painters,  Vol.  2,  pp.  178- 

85. 
Taine,    Rome    and    Naples,      pp.     170, 

194-5- 
SVMONDS,  Renaissance,  pp.  423-8. 
Oi.iphant,     M-akers    of    Florence,     pp. 

384-6. 


78 


HISTORY  OF  PAINTING. 


IX.— RAPHAEL  SANZIO. 


THE    COMMOX    CUr.MINATION    OF    SPIRITUAL    ELEVATION    AND 
NATURAL  BEAUTY. 

[1483-I52O   A.     1).] 


I.      Raphael's     early 
neig^hborhood  and  master. 


conditions — home,      parents, 


Crowe    and    Cavalcaselle,    Raphael, 

Vol.  I,  pp.  5-30. 
KUGLER,  It.  Schools  of  Painting,  Vol.  6, 

pp.  406-9. 
LUEBKE,  Hist.  Art,  Vol.  2,  pp.  323-5. 
Jameson,  It.  Painters,  pp.  228-32. 
Lanzi,  Hist.  Painting,  Vol.  2,   pp.    51-3. 
Vasari,  Lives,  Vol.  3,  pp.  1-4. 
Knight,  Pict.  Gal.  Arts,  Vol.  2,  text  p. 

355- 
ViAKDOT,  Hist.  Painters,  pp.  113-4. 


Passavant,  Raphael,  pp.  9-34. 
SwEETSER,  Raphael,  pp.  7-16. 
Tytler,  Old  Masters,  pp.  125-7. 
D'Anvers,  Raphael,  pp.  1-5, 
Jarves,  Art  Studies,  pp.  321,  439-42.  . 
Taine,  Florence  and  Venice,  p.  15. 
Symonds,  Renaissance,  pp.  302-3. 
MuNTZ,  Raphael,  pp.  12-18. 
WOLTMANN      and        WOERMANN,      Hist. 
Painting,  Vol.  2,  pp.  525-6. 


2.  Raphael's  Umbrian  life  and  earliest  independent 
works;  Infant  Jesus  and  St.  John;  the  Crucifixion;  Cor- 
onation of  the  Virgin,  at  the  Vatican;  the  Espousals  of 
the  Virgin,  now  at  Milan. 


HISTORY  OF  PAINTING. 


79 


WOLTMANN       and       WOERMANN,        HlSt. 

Painting,  Vol.  2,  526-9. 
Crowe    and    Cavalcaselle,    Raphael, 

pp.  26-128. 
KUGLER,  It.  Schools  of  Painting,  Vol.  2, 

pp.  409-15- 
LuEBKE,  Hist.  Art,  Vol.  2,  pp.  326-7. 
Lanzi,  Hist.  Painting,  Vol.  2,  pp.  53-60. 
Vasari,  Lives,  Vol.  3,  pp.  4-6. 
Heaton,  Hist.  Painting,  pp.  142-6. 


Perkins,  Raphael  and  Michael  Angelo, 

pp.  55-64. 
MuNTZ,  Raphael,  pp.  50-8,  68-71. 
D'Anvers,  Raphael,  pp.  6-9. 
Koehler,  Hist.  Art.  pi.  209. 
Passavant,  Raphael,  pp.  35-49. 
Jarves,  Art  Studies,  pp.  442-3. 
Jameson,  It.  Painters,  pp.  233-4;  Legends 

of  the  Madonna,  pp.  24-5,   160-1. 
Svveetser,  Raphael,  pp.  16-24. 


3.  Raphael's  Florentine  life  and  modifications  of 
style:  the  distinct  style  of  his  Florentine  Madonnas,  viz: 
Cardellino,  Granduca,  Casa  Tempi,  Terranuova,  the 
Meadow,  Casa  Carrigiani,  with  the  Lamb,  with  the  Pink 
and  the  Holy  Family  under  the  Palm. 

His  first  grand  composition  showing  great  study  and 
independence,  the  Entombment. 


Crowe  and  Cavalcaselle,  Raphael,  pp. 

244-64,  299-322. 
KUGLER,  It.  Schools  of  Painting,  Vol.  2, 

pp.  415  23- 
LUEBKE,    Hist.   Art,   Vol.  2,  pp.  327-30. 
Jameson,  It.  Painters,  pp.  234-5. 
Lanzi,  Hist.  Painting,  Vol.  2,  pp.  60-4. 
Vasari,  Lives,  Vol.  3,  pp.  6-13. 
Heaton,  Hist.  Painting,  pp.  146-9. 
VlARDOT,  Hist.  Painters,  pp.  1 14-15. 
Tytler,  Old  Masters,  pp.  128-9. 
Perkins,  Raphael  and  Michael  Angelo, 

pp.  64,  72-9,  151-3,  191-6. 


MuNTZ,  Raphael,  pp.  95,  101-200. 

WoLTMANN  and  WoERMANN,  Hist  Paint- 
ing, Vol.  2,  pp.  529-35. 

Grimm,  M.  Angelo,  Vol.   i,  pp.  259-61. 

Passavant,  Raphael,  pp.  49-80. 

SwEETSER,  Raphael,  pp.  25-40. 

D'Anvers,  Raphael,  pp.  70-22. 

Oliphant,  Makers  of  Florence,  pp. 
344  6. 

Walker,  Raphael's  Madonnas,  pi.  5, 
pp.  45  6. 

Jarves,  Art  Studies,  pp.  443-5. 

Hare,  It.  Cities,  Vol.  3,  pp.  176-9. 


4.     Raphael's    Roman    life    and    his    relations    with 
other  masters  and  prominent  men. 


8o 


HISTORY  OF  PAINTING. 


LuEBKE,  Hist.  Art,  Vol.  2,  pp.  325-6 
Jameson,  It.  Painters,  pp.  235-6,  274-7. 
Lanzi,  Hist.  Painting,  Vol.  2,  pp.   64-8, 

87-103. 
Vasari,  Lives,  Vol.  3,  pp.  53-64. 
H  EATON,    Hist.     Painting,    pp.    149-50, 

153-6. 
Reynolds,    Discourses   on  Art,  Vol.  2, 

pp.  48-54. 
MUNTZ,  Raphael,  pp.  201-38. 


Swketser,    Raphael,     pp.    41-6,   56-8, 

66-72,  135-44. 
D'Anvers,  Raphael,  pp.  50-3. 
Tytler,  Old  Masters,  pp.  133-5. 
Jarves,  Art  Studies,  pp.  444-60. 
Taine,  Rome  and  Naples,  pp    150-1. 
Symonds,  Renaissance,  pp.  312,  327-39 
Perkins,  Raphael  and  Michael  Angelo. 

pp.  93-4,  10813,  133-4,  158-9,   187-9. 


5.  Raphael's  Madonnas  compared  with  those  of 
other  masters;  especially  the  Madonnas  di  San  Sisto,  del 
Baldacchino,  della  Sedia,  di  Foligno  and  Belle  Jardiniere; 
Holy  Family  with  St.  Elizabeth. 


Kugler,  It.  Schools  of  Painting,  Vol.  2, 

pp.  450-60. 
LuEBKE,    Hist.    Art,   Vol.  2,  pp.  342-6; 

Mon.    Art,    Vol.    2,    pi.    78,    text    pp. 

229-32. 
Jameson,  It.  Painters,  pp.  269-70,  277-8; 

I.,egends  of  the  Madonna,  pp.  35,  39, 

75,  1 13 -5,  117-8,123-4,257-8. 
Lanzi,  Hist.  Painting,  Vol.  2,  pp.    94-6. 
Vasari,  Lives,  Vol.  3,  pp.  25-6,  32. 
Knight,  Pict.  Gal.  Arts,  Vol.  2,  II.  p. 

360. 
D'Agincourt,   Hist.    Art,   Vol.    3,    pis. 

184-5. 
Carr,  It.  Masters,  pl.6,  pp.  10-12. 
Viardot,  Hist.  Painters,  pp.  115  6,  121-2. 
Muntz, Raphael,  pp.  152-5,  144-6,  300-9. 


Heaton,  Hist.  Painting,  pp.  162-8. 
Passavant,  Raphael,  pis.  5;   12-14,  i?, 
20,    text   pp.    188-90,    279-80,    293-5, 

304-5- 
Tytler,  Old  Masters,  pp.  148-52. 
SwEETSER,  Raphael,  pp.  54-6,  62-3,  109- 

15,  119-22. 
Walker,  Raphael's  Madonna's,  pp.  39- 

42,  513.  63-7,  79-80,  97-101,  pis.  4,  6, 

8,  9,  12. 
D'Anvers,    Raphael,  pp.    20,  39,   82-3, 

88-90. 
Jarves,  Art  Studies,  p.  461;  Art  Hints, 

PP-  355-6- 
Taine,  Florence  and  Venice,  pp.    154-5. 
Blanc,  Grammar  of  Painting,  pp.  113-6. 


6.     The     frescoes    of     the    three    stanza    or    state 
chambers,    severally    named   Seg-natura,    Heliodoro    and 


HISTORY  OF  PAINTING. 


8i 


Incendio:  the  Dispute  of  the  Sacrament;  the  School  of 
Athens;  Parnassus;  the  Expulsion  of  Heliodorus;  In- 
cendio del  Borgo. 


Crowe  and    Cavalcaselle,    Raphael, 

Vol.  2,  pp.  14-16. 
KUGLER,  It.  Schools  of  Painting,  Vol.  2, 

pp.  424-37- 
LUEBKE,    Hist.  Art,  Vol.  2,  pp.    330-6; 

Mon.    Art,    Vol.     2,   pi.  79,    text   pp. 

232-3- 
Jamison,  It.  Painters,  pp.  236-44;  Hist. 

Our  Lord,   Vol.    2,  pp.  358-9. 
Knight,  Pict.  Gal.  Arts,  Vol.  2,  II.  p. 

352,  text  pp.  358-9. 
Lanzi,  Hist.  Painting,  Vol.  2,  pp.  69-82. 
Passavant,  Raphael,  pis.  7-10,  pp.  84- 

105,  116-24,  221   7,235-8,  242-5. 
SwEETSER,    Raphael,    pp.   46-50,    63-5, 

73-5,92-5- 
D'Anvers, Raphael,  pp.  25-37,  43  9,  64-5. 
X0EHI.ER,  Hist.  Art,  pis.  210-1. 


D'Agincourt,  Hist.  Art,  Vol.  3,  pis. 
186-94. 

Jarves,  Art  Studies,  pp.  464-5;  Art 
Hints,  pp.  360-3. 

MuNTZ,  Raphael,  pp.  244-98,  340-6. 

Woltmann  and  Woermann,  Hist.  Paint- 
ing, Vol.  2,  pp.  537-40,  544. 

Vasari,  Lives,  Vol.  3,  pp.  13-24,  26-32, 
40-4. 

ViARDOT,  Hist.  Painters,  pp.   117-9. 

HEATON,Hiit.  Painting,  pp.  150-3,  156-7. 

RusKiN,  Lcct.  Arch.,  pp.  168-70. 

Perkins,  Raphael  and  Michael  Angelo, 
pp.  113-31,  135-9.  153-8,  173-7- 

Tai.ne,  Rome  and  Naples,  pp.  141-2, 
144-6,  156-8. 

Symonds,  Renaissance,  pp.  334-5. 

Hare,  Walks  in  Rome,  pp.  581-6. 


7.  Raphael's  series  of  fresco  paintings  of  Bible  His- 
tory in  the  Loggie  of  the  Vatican.  The  "  Hours"  in  Sala 
Borgia. 


KUGLER,  It.  Schools  of  Painting,  Vol.  2, 

pp.  439-42- 
Llebke,  Hist.   Art,   Vol.   2,  pp.  339-40. 
Jameson,    It.   Painters,  pp.  245-6;  Hist. 

Our  Lord,    Vol.    i,    pp.    113-5,   1 72-8, 

152-3.  1^^3-5 
Vasari,  Lives,  Vol.  3,  pp.  45-6. 
Perkins,  Raphael  and  Michael  Angelo, 

PP    184-7- 
Mlntz,  Raphael,  pp.  346^  61. 
ViARDOT,  Hist.  Painters,  p.  1 16. 
JIeaion,  Hist.  Painting,  pp.  157-8. 


Woltmann     and     Woermann,     Hisf 
Painting,    Vol.     2,    pp.      54,    424-30, 

501-30- 
Hare,  Walks  in  Rome,  pp.  579-81. 
Passavant,  Raphael,  pj).  164-6,  245-55. 
SWKETSER,  Raphael,  pp.  87-92. 
D'Anvers,  Raphael,  pp.  66-70. 
Crowe    and    Cavalcaselle,    Raphael, 

Vol.  2,  pp.  13,  548-50. 
Taink,  Rome  and  Naples,  pp.  141,  156. 
TVTI.ER,  Old  Misters,  pp.  130  3. 
WoRNUM,  Epochs  of  Painting,  pp.  210-30. 


82 


HISTORY  OF  PAINTING. 


8.  The  cartoons  for  the  Sistine  tapestries;  methods 
of  transferring  the  designs  from  the  cartoons  to  the  tapes- 
tries; history  of  this  series  of  cartoons  and  description  of 
the  several  designs. 


KUGLER,  It.    Schools    of  Painting,    Vol. 

2,  pp.  442-8,  472-4- 
LuEBKE,   Hist.   Art,  Vol.  2,    pp.  336-9; 

Mon.  Art,   Vol.  2,  pi.  79,  text  p.  233. 
Jameson,  It.  Painters,  pp.  246-67;  Hist. 

Our  Lord,    Vol.    i,    pp.    372-3,    Vol. 

2,  pp.  31 1-2 
Lanzi,  Hist.  Painting,  Vol.  2,  pp.  82-3. 
Tytler,  Old  Masters,  pp.  130-3,   152-6. 
Perkins,  Raphael  and  Michael  An  gel  o, 

pp.  180-4. 
MUNTZ,  Raphael,  pp.  369-94. 
WORNUM,  Epochsof  Painting,  pp.  209-19. 


WOLTMANN       and       WOERMANN,      Hist. 

Painting,  Vol.  2,  547,  273-314. 
Knight,  Pict.  Gal.  Arts,  Vol.  2,  II.  pp. 

353.  356-7,  t:xt  pp.  359,  362-3. 
He  AXON,  Hist.  Painting,  pp.   158-60. 
Pass.want,  Raphael,  pi.  16,  pp.  166-74, 

236-67. 
SwEETSER,  Raphael,  pp.  95-101. 
D'Anvers,  Raphael,  pp.  71-5. 
Blanc,    Grammar  of  Painting,   pp.    21, 

86-9. 
Vasari,  Lives,  Vol.  3,  pp.  49-50. 


9.  The  Transfiguration;  portraits  of  Julius  II, 
Lorenzo  de  Medici  and  Leo  X;  the  design  of  the  battle 
of  Constantine  and  other  important  works  of  his  later 
years. 


Crowe   and    Cavalcaselle,    Raphael, 

Vol.  2,  pp.  487-501. 
KuGLER,    It.    Schools  of  Painting,   Vol. 

2,  pp.  462-71. 
LiJEBKE,  Hist.  Art,  Vol.  2,  pp.  347-50. 
Jameson,  It.  Painters,  pp.  272-3,  278-9; 

Hist.  Our  Lord,  Vol.  I,  pp.  342-6. 
Lanzi,  Hist.  Painting,  Vol.  2,  pp.  85-7. 
Vasari,  Lives,  Vol.  3,  pp.  57-8,  61. 
Perkins,  Raphael  and  Michael  Angelo, 

pp.  143,   189-91. 
MuNTZ,  Raphael,  pp.  310-40,  206-13. 


Woltmann     and     Woermann,     Hist. 

Painting,    Vol.    2,  pp.   552-57,   101-3, 

409-12,  454-5- 
ViARDOT,    Hist.    Painters,  pp.    119,   121. 
Grimm,   M.  Angelo,  Vol.  i,  p.  434;  Vol. 

2,  pp.  196-7 
Passavant,   Raphael,   pis.    lo-ii,   18-9. 

pp.  195-7,  274-9,  282,  286. 
SWEETSER,  Raphael,  pp.  129-30,   132-5, 

138-9. 
D'ANVERS.Raphael,  pp.  50-3,  80-7,  92-8. 
Heaton,  Hist.  Painting,  pp.  i6o-l,  168. 


HISTORY  OF  PAINTING. 


83 


X— CORREGGIO  [ANTONIO  ALLEGRI]. 


THE  GREATEST  MASTER  OF  CHIAROSCURO. 
[1494-1534  A.   1).] 

I.      Incidents  of  Correggio's  life  and  his  relations  to 
other  masters. 


WOLTMANN       and       WOERMANN,      Hist. 

Painting,  Vol.  2,  pp.  584-5. 
KuGLER,  It.  Schools  of  Painting,  Vol.  2, 

pp.  497-9. 
LuKBKE,    Hist.  Art,  Vol.   2,  pp.   354  5; 

Mon.  Art,  Vol.  2,  pi.  75,  text  p.  224. 
Knight,  Pict.  Gal.  Arts,  Vol.  2,  text  pp. 

366-7. 
Jameson,  It   Painters,  pp.  290-2,  295-8. 
Lanzi,    Hist.     Painting,     Vol.     4,     pp. 

79-85,  87-91,  101-12. 
Vasari,  Lives,  Vol.  2,  pp.  402-4,  409-12. 
WoRNUM,  Epochs  of  Painting,  pp.  239-44. 


Scott,  It.  Painter.s,  p;).  49-51. 
Heaton,  Hist.  Painting,  pp.  241-3;  Cor- 

reggio,  pp.  1-88,  1 14-9,  251-4. 
Hare,  It.  Cities,  Vol.  2,  pp.  210-1. 
Grimm,    M.    Angelo,    Vol.    2,  pp.    198- 

202. 

Viardot,  Hist.  Painters,  p.  153. 
Tyti.er,  Old  Masters,  pp.  185-6,  187-92. 
Hai.l,    Gems  of  European  Art,  Vol.   i, 

PP-  35-6. 
Symonds,  Renaissance,   pp.  312-3,  339- 
42,  495  6. 


2.  Correggio's  great  dome  frescoes;  the  Ascension 
of  Christ  in  the  Church  of  San  Giovanni  and  the  Assump- 
tion of  the  Virgin  in  the  cathedral  of  Parma. 


HISTORY  OF  PAINTING. 


WOLTMANN       and      WOERMANN,      Hist. 

Painting,  Vol.  2,  pp.   588-9. 
KuGLER,  It.  Schools  of  Painting,  Vol.  2, 

pp.  500-2. 
LUKBKE,  Hist.  Art,  Vol.  2,  pp.  356-8; 

Mon.  Art,  Vol.  2,  pi.  75,  text  p.  224. 
Knight,  Pict.  Gal.  Arts,  Vol.  2,  text  p. 

366. 
Lanzi,  Hist.  Painting,  Vol.  4,  pp.  97-101. 
Vasari,  Lives,  Vol.  2,  pp.  404-6. 
Hare,  It.  Cities,  Vol.  2,  pp.  212-6. 
ViARDOT,  Hist.  Painters,  pp.  1 53-4. 


Jameson,  It.  Painters,  pp.  292-5;  Hist 

Our  Lord,  Vol.  2,  pp.  312-3;  Legends 

of  the  Madonna,  pp.  324-5. 
Heaton,  Hist.  Painting,  pp.  244-5;  Cor- 

reggio,  pp.  143-78,  275-6. 
Scott,  It.  Painters,  pp.  52-3. 
Grimm,  M.  Angelo,  Vol.  3,  pp.  204-6. 
D'Agincourt,  Plist.  Art,  Vol.  3,  pi.  203. 
Jarves,  Art  Studies,  pp.  470-1. 
TosCHi,  Engravings  from  Correggio,  pis. 

14-24. 


3.  Correggio's  Madonnas  and  altar  pieces:  general 
criticism;  Adoration  of  the  Shepherds  or  "The  Night";  St. 
Jerome  or  "The  Day";  St.  Sebastian;  Madonna  En- 
throned; Madonna  della  Scodella;  the  fresco,  Madonna 
della  Scala. 


Woltmann  andWoERMANN,  Hist.  Paint- 
ing, Vol,  I,  p.  591. 

KuGLER,  It.  Schools  of  Painting,  Vol.  2, 
pp.  499-500,  502-4- 

LuEBKE,  Hist.  Art,  Vol.  2,  pp.  356,  358- 
60;  Mon.  Art,  Vol.  2,  pi.  75,  text  pp. 
224-5. 

Knight,  Pict.  Gal.  Arts,  Vol.  2,  II.  p. 
365,  text  pp.  366-7. 

Tytler,  Old  Masters,  pp.  192-3. 

Hare,  It.  Cities,  Vol.  2,  pp.  220,  222. 


Jameson,  It.  Painters,  pp.  292,  301;  Le- 
gends of  the  Madonna,  pp.  loo-i, 
126-7,  252-3,  263-4. 

Lanzi,  Hist.  Painting,  Vol.  4,  pp.  85-7, 
91-4. 

ViARDOT,  Hist.  Painters,  pp.  154-7. 

Vasari,  Lives,  Vol.  2,  pp.  406,  408-9. 

Heaton,  Correggio,  pp.  89-95,  123-32, 
179-203,  276-86. 

TosCHi,     Engravings    from    Correggio, 

pi-s- 


4.      Correggio.'s    mythological  paintings;    Diana  Re- 
turning  from    the  Chase  and  the  Arbor  pictures  in  the 


HISTORY  OK  PAINTING. 


85 


Convent  San  Paola  at  Parma;   Jupiter  and  lo;  Leda  and 
the  Swan;  Venus  teaching  Cupid,  etc. 


WoLTMANN  and  WOERMANN,  Hist.  Paint- 
ing, Vol.  2,  pp.  586-93. 

KUGLER,  It.  Schools  of  Painting,  Vol. 
I,  pp.  500,  505-6. 

LiEBKE,  Hist.  Art,  Vol.  2,  pp.  35b, 
360-2;  Mon.  Art,  Vol.  2,  pi.  75,  text 
p.  225. 

Jameson,  It.  Painters,  pp.  298-9,  301. 

Hare,  It.  Cities,  Vol.  2,  p.  224. 

Lanzi,  Hist.   Painting,  Vol.  4,  pp.  96-7. 


Vasari,  Lives,  Vol.  2,  p.  407. 
D'Agincourt,  Hist.  Art,  Vol.  3,  pi.  202. 
Grim.m,  .M.  Angelo,  Vol.  2,  pp.  202-3. 
Viardot,  Hist.  Painters,  pp.  154-5. 
Heaton,    'Jorreggio,   pp.    103-13,     121, 

220-37,    288-94;    Hist.    Painting,    pp. 

245-6. 
TosCHi,     Engravings     from    Correggio, 

pis.  6-13. 
Taine,  Ideal  in  Art,  pp.  21-4. 


5.  Other  important  paintings  by  Correggio;  Ecce 
Homo;  the  Reading  Magdalene;  Marriage  of  St. 
Catherine,  etc. 


KUOLER,  It.  Schools  of  Painting,  Vol.  2.        IIeato.n,    Hist.   Painting,    pp.    245;  Cor- 


pp.  504-6. 

LuEBKK,    Hist.   Art,  Vol.  2,  pp.    359. 

Jameson,  It.  Painters,  pp.  299  301;  Le- 
gends of  the  Madonna,  p.  284. 

Knight,  Pict.  Gal.  Arts,  Vol.  2,  II.  p. 
365,  text  p.  367. 

Lanzi,  Hist.  Painting,  Vol.  4,  pp.  95-6. 

KoEllLER,  Hist.  .\rt,  pi.   214. 


reggi),  pp.  95   100,  21-3,  133-8,  286-  8, 

294  300. 
ViARPoT,  Hist.  Painters,  pp.  154-6. 
Grimm,  M.   Angelo,  Vol.  2,   pp.   200-1. 
Hamilton,  Schola  Italica,  pis.   17-8. 
Scott,  It.  Painters,  pi.  13. 
Hai.i.,   Gems   of  European  Art,   Vol.   2, 

pis.  14-6,    text  pp.  41-2. 


S6 


HISTORY  OF  PAINTING. 


XL— THE  VENETIAN  SCHOOL. 


THE  GREAT  COLORISTS  AND  MODERN  REALISTS. 
[1450-1600  A.  n.] 

I.  Giorgione  [Giorgio  Barbarelli  di  Castelfranco] 
(1477-15 1  i);  the  first  great  master  of  color  in  landscape; 
Palma  Vecchio  [Giacomo  Vecchio]  (1480-1528). 


WOLTMANNandWoiiRMANN,  Hist.  Paint- 
ing, Vol  2,  pp.  604-7. 

KuGLER,  It.  Schools  of  Painting,  Vol. 
2,  pp.  508-12. 

LuEBKE,  Hist.  Art,  Vol.  2,  pp.  362-6; 
Mon.  Art,  Vol.  2,  pi.  80,  text  p.  237. 

Knight,  Pict.  Gal.  Arts,  Vol.  2,  11.  p. 
365,  text  p.  367. 

Jameson,  It.  Painters,  pp.  310-8; 
Hist.  Our  Lord,  Vol.  i,  pp.  153,  176; 
Sacred  Art,  Vol.  i,  pp.  152-3. 

Lanzi,  Hist.  Painting, Vol.  3,  pp.  99-103. 

Vasari,  Lives,  Vol.  2,  pp.  394-402. 


VlARDOT,  Hist.  Painters,  pp.  86-7. 
Heaton,  Hist.  Painting,  pp.  212-7. 
Tytler,  Old  Masters,  pp.  181-5. 
Hare,  It.  Citi.s,  Vol.  2,  pp.  53-5. 
D'Agincourt,    Hist.     Art,    Vol.    3,    pi. 

162. 
Hamilton,  Schola  Italica,  pi.  20. 
Koehler,  Hist.  Art,  pi.  206. 
Grimm,  M.  Angelo,  Vol.  2,  pp.  73-4. 
RusKiN,  Modern  Painters, Vol.  5,  pi.  79, 

pp.  301-3,  306-7,  353-5. 
Symonds,  Renaissance,  pp.  366-9. 
Wornum,  Epochs  of  Painting,  pp.  248-9. 


2.  Titian  [Tiziano  Vecelli  da  Cadore]  (1477-1576); 
the  universal  painter  in  whom  the  Venetian  school  cul- 
minated: facts  of  his  life  and  grade  of  his  character; 
peculiarities  of  his  style. 


HISTORY  OF  PAINTING. 


87 


WOLTMANN       and      WOERMANN,       Hist. 

Painting,  Vol.  2,  pp   613-15. 
KUGLER,  It.  Schools  of  Painting,  Vol.  2, 

pp.  530-4. 
LUEBKE,  Hist.  Art,  Vol.  2,  p.  367. 
Jameson,  It.  Painters,  pp.  319-33. 
Lanzi,  Hist.  Painting,  Vol.   3,  pp.    135- 

46,   148-50. 
Vasari,  Lives,  Vol.  5,  pp.  382-5,  390-1, 

393-5- 
ViARDOT,  Hist.  Painters,  pp.  134-5. 
Heaton,     Hist.     Painting,    pp.    220-2, 

225-7. 


SWEETSER,  Titian. 

Tytler,  Old  Masters,  pp.  157-8. 

Jarves,    Art    Hints,     pp.    368-9 ;     Art 

Studies,  pp.  313-4. 
Taine,  Florence  and  Venice,  pp.  301-3. 
Heath,  Titian;  Gt.  Artist  Series. 
Hall,  Gems  of  European  Art,  Vol.    i, 

pp.  107-10. 
Carr,  It.  Masters,  pi.  15,  text  pp.  25-7. 
Crowe  and  Cavalcasalle;  Titian,  Vol. 

I,  pp.  25-57,  203,  219,  285-6;  Vol.  2, 

411-16. 
WoRNUM,  Epochs  of  Painting,  pp.  250-4. 


3.  General  comparison  of  Titian's  religious  pictures 
as  such,  with  those  of  Raphael;  Assumption  of  the  Virgin; 
Death  of  St.  Peter  Martyr;  Presentation  of  the  Virgin; 
Christ  and  the  Tribute  Money;  Magdalene;  Madonna  and 
St.  Sebastian;  Madonna  of  the  Pesaro  Family;  Last 
Supper. 


Crowe  and  Cavalcaselle,  Titian,  Vol. 

I,    pp.    210-18;    1 16-21;   350;   237-9; 

306-10;  Vol.  2,  31-6,  346-9. 
KlJC.LER,  It.  Schools  of  Painting,  Vol.  2, 

PP-  534  7- 
F-UEiiKE,  Hist.  Art,   Vol.  2,  pp.  367-72; 

Mon.    Art,   Vol.    2,    pi.    80,     text    pp. 

236  7. 
Jameson,  It.  Painters,  pj).  322  3,  329. 
Hare,  It.  Cities,  Vol.  2,  pp.  38-9;  Walks 

in  Rome,  pp.  593-4- 
La.nzi,   Hist.   Painting,  Vol.  3,  jip.    137, 

15C-I. 
Vasari,  Lives,  Vol.  5,  pp.  385,  3S7,  389- 
90,  392  4,  39^-9 

D'AciINCOiRT,  Hist.  Art,  Vol.  3,  pi.  203. 
Knight,  Pict.  Gal.  Arts,  Vol.   2,  11.  jip. 

364-5,  text  p.  367. 


Grimm,  M.  Angelo,  Vol.   i,  pp.  73-5. 
Carr,  It.  Masters,  pi.  14,  text  pp.  23-5. 
ViARDOT,  Hist.  Painters,  pp.  135-7,  138, 

140-2. 
Heaton,  Hist.  Painting,  p.  224. 
Tyti.eu,  OKI  .M.-isters,  pp.  164-8. 
Scott,  It.  P.iinters,  pi    10. 
Swi.KTSER,   Titian,    pp.    37-9,  54,  60-2, 

67  8,  96-8,  ic6,  H7-8,  136-S. 
Jarvks,  Art  Hints,  pp.  373  6. 
RlsKlN.Motl,  Painters,  Vol,  5,  jip.  240-3. 
Taink,  Florence  and  Venice,   pp.   303-6, 

308  9. 
Symonds,  Renaissance,  ]ip.  379  S3 
Heath,    Titian,    Gt.    Artist  .Series,     pp. 

14  5,  21   3,  26,  30  2,  38  40.  41-2,  70-1, 

74  5.  So- 1. 
KoKHl.ER,  Hist.  Art.  pis.  213-4. 


HISTORY  OF  PAINTING. 


4.  Titian's  treatment  of  mythological  and  allegorical 
subjects;  his  pictures  of  Venus  and  Cupid;  Bacchus  and 
Ariadne. 


WoLTMANNandWOERMANN,  Hist.  Paint- 
ing, Vol.  2,  pp.  615-19. 
KUGLER,  It.  Schools  of  Painting,  Vol.  2, 

PP-  537-9- 
LuEBKE,   Hist.   Art,   Vol.   2,  pp.  372-5. 

Mon.  Art,  Vol.  2,  pi.  80,   text  p.   236. 
Jameson,  It.  Painters,  pp.  321-2. 
Laxzi,  Hist.  Painting,  Vol.  3,  p.  141. 
Vasari,  Lives,  Vol.  5,  pp.  386-7,  394. 
Knight,  Pict.  Gal.  Arts,  Vol.   2,  II.    p. 

365- 
VlARDOT,  Hist.  Painters,  pp.  137,  141. 
TVTLER,  Old  Masters,  pp.  164-5. 


Heaton,  Hist.  Painting,  pp.  222-4,  225. 
SWEETSER,  Titian,   pp.  47-9,  105-6,  119, 

128,  132-3. 
Jarves,  Art  Hints,  p.  371. 
RUSKIN,  Mod.  Painters,  Vol.  5,  pp.  228-9, 

242. 
Taine,    Rome    and    Naples,    pp.    63-4, 

167-8;  Florence  and  Venice,  pp.  141-2, 

306-7. 
Heath,  Titian,  pp.  29,  33-4,  59,  72. 
Koehler,  Hist.  Art,  pi.  214. 
Crowe  and  Cavalcaselle,  Titian,  Vol. 

I.  59-65- 


5.     Titian's  place  among  the  great  portrait  painters. 


WoLTMANN     and       Woermann      Hist 

Painting,  Vol.  2,  pp.  20,  621,  623. 
Kugler,  It.  Schools  of  Painting,  Vol.  2 

PP-  539-41- 
Luebke,  Hist.  Art,   Vol.  2,  pp.    375-6 
J.'VMESON,  It.   Painters,    pp.   320,    323-6 

334-5,  338. 
Laxzi,  Hist.  Painting,  Vol.  3,  pp.  146-8 
Vasari,   Lives,    Vol.   5,    pp.    389,  390 

391-2,  393,  395-7,  399-40:. 
D'Agincourt,  Hist.  Art, Vol.  3,  pi.  143 
Heaton,  Hist.  Painting,  pp.  225,  227-8 


Scott,  It.  Painters,  pi.  2, 

Tytler,  Old  Masters,  pp.  165-7. 

Sweetser,  Titian,  pp.  36,  44-6,  70-3, 
76,  91-2,  95-6,  108-9,  "4-5- 

Jarves,  Art  Hints,  p.  359. 

Taine,  Florence  and  Venice,  pp.  156-8. 

Heath,  Titian,  pp.  37,  61,  72-3. 

Viardot,  Hist.  Painters,  pp  137-40. 

Crowe  and  Cavalcaselle,  Titian, 
Vol.  I,  pp.  76-9;  Vol.  2,  pp.  103-9, 
124-6,  136-41,  177-8,  204-11. 


6.  Tintoretto  [Jacopo  Robusti]  (15 12-1594);  the 
greatest  master  in  the  shadow  of  Titian ;  the  circumstances 
and  character  of  the  man. 


HISTORY  OF  PAINTING. 


89 


KUGLER,  It.  Schools  of  Painting,  Vol.  2, 

P-  547- 
LUEBKE,  Hist.  Art,  Vol.  2,  pp.  380-2. 
Knight,  Pict.  Gal.  Arts,  Vol.  2,  Text  p. 

370- 

Jameson,  It.  Painters,  pp.  343-5. 
ViARDOT,  Hist.  Painters,  p.  148. 
Lanzi,  Hist.  Painting,  Vol.  3,  pp.  178-8. 
Heaton,  Hist.  Painting,  pp.  232-3. 


Hare,  It.  Cities,  Vol.  2,  p.  120. 
OsLER,  Tintoretto,  Gt.  Artists  Series,  pp. 

15-23,31-43- 
Taine,  Florence  and  Venice,  pp.  312-3. 
Tyti.ek,  Old  Masters,  pp,  194-6. 
Ci-EMKNT,  Hist.  Painting,  pp.  130-I. 
RUSKIN,  Modern  Painters. 
WoRNUM,  Epochs  of  Painting,  pp.  259-61. 


7.  Tintoretto's  religious  pictures:  the  Crucifixion; 
Miracle  of  St.  Mark;  Presentation  of  the  Virgin;  Marriage 
at  Cana;  Entombment  of  Christ;  Bethrothal  of  St. 
Catherine. 


KUGLER,  It.  Schools  of  Painting,  Vol.  2, 

p.  549. 
LUEBKE,  Hist.  Art,  Vol.  2,  p.  382;  Mon. 

Art,  pi.  88,  text  p.  257. 
Knight,  Pict.   Gal.   Arts,  Vol.  2,  text  p. 

370. 
Jameson,    It.    Painters,    p.   345;    Sacred 

Art,  p.  153. 
Viardoi,  Hist.  Painters,  p.  149. 
Lanzi,  Hist.  Painting,  Vol.  3,  j>p.  189-90. 
Heaton,  Hist.  Painting,  i)p.   233-4. 


Osi.ER,  Tintoretto,  pp.   23-7,  29-30,  35, 

45-6,  48,  59,  68. 
Tyti.ek,  Old  Masters,  pp.  196,  202-3. 
KoEiii.ER,  Hist.  Art,  pi.  214. 
Taine,  Florence  and  Venice,  pp.  314-6, 

319,  324-5. 
Hare,  It.  Cities,  Vol.  2,  pp.  121-5. 
RusKiN,   Stones  of  Venice,    \'ol.  3,  pp. 

299-.iO^   304-7.    312  5,  3'(^  8,  328-9, 

333  ^J.   339-69.  37«-4;  Mo<l-  Painters, 

Vol.  2,  pp.  1 70-1,  173-7. 


8.     Tintoretto's  mythological  pictures;  Bacchus  and 
Ariadne;  the  nine  Muses. 


Jameson,  It.  Painters,  p.  346.  Osi.ek,  Tintoretto,  p]).  46  69. 

LiEHKE,  Mon.   Art,   Vol.   2,   pi.  88,   text       Riskin,    Stones   of  Venice,   Vol.   3,   pp 
p.  257.  306-S. 


9.     Paul  Veronese,  [Paolo  Cagliari]  (i 528-1 58S);  the 


90  HISTORY  OF  PAINTING. 

last  great  master  before  the  decline  of  Italian  painting; 
the  leading  features  of  his  style. 


KUGLKR,    It.    Schools  of  Painting,   Vol.  Heaton,  Hist.  Painting,  pp.  235,  238-9. 

2,  pp.  551-2.  Jameson,  It.  Painters,  pp.  347-8. 

LlEBKK,  Hist.  Art,  Vol.  2,  pp.  382-3.  Tyti.er,  Old  Masters,  pp.  205-9. 

Knight,  Pict.  Gal.  Arts,  Vol.  2,  text  p.  Lanzi,  Hist.  Painting,  Vol.  3,  pp.  212-3, 

370.  224. 

VlARDOT,  Hist.  Painters,  p.  150.  Symonds,  Renaissance,  pp.  369-5. 


10.  The  great  banquet  pictures  by  Paul  Veronese: 
Marriage  at  Cana;  Feast  at  the  House  of  Simon,  the 
Pharisee  (compare  his  Magdalene  annointing  the  feet  of 
Christ);  Feast  at  the  House  of  Levi;  Supper  at  the  House 
of  Simon,  the  Leper;  Supper  at  Emmaus. 


KUGLER,  It.  Schools  of  Painting,  Vol.  2,  Viardot,  Hist.  Painters,  pp.   150-2. 

pp.  554-6.  IIeaton,  Hist.  Painting,  pp.  237-8. 

LfEKKE,  Hist.  Art,  Vol,  2,  p.  385;  Mon.  Jameson,  It.  Painters,  pp.  348-9;  Hist. 

Art,  Vol.  2,  pi.  88,  text  pp.  257-8.  Our  Lord,  Vol.  2,  pp.  394-5. 

Knight,  Pict.  Gal.  Arts,  Vol.  2,  text  p.  Tytler,  Old  Masters,  pp.  209-10. 

370.  Lanzi,  Hist.  Painting,  Vol.  3,  pp.  227-9. 

Koeiiler,  Hist.  Art,  pi.  215.  VVornum,  Epochs  of  Painting,  pp.  262-4. 


II.  Allegorical  and  historical  pictures  by  Paul 
Veronese;  Apotheosis  of  Venice;  Rape  of  Europa; 
Recompense;  Musica;  Vanity;  Consecration  of  St. 
Nicholas;  Family  of  Darius  at  the  Feet  of  Alexander; 
Presentation  of  the  Cocina  Family  to  the  Madonna  by 
Faith,  Hope  and  Love. 


HISTORY  OF  PAINTING.  9^ 

MoRELLi,   It.   Masters   in   German  Gal-  Taine,  Rome  and  Naples,  pp.  116-7. 

leries,  p.  196.  Jameson,    Hist.  Our  Lord,   Vol.   i,  pp. 

Klgler,  It.  Schools  of  Painting,  Vol.  2,  365-6;  Sacred  Art,  Vol.  2,  pp.  421-2. 

pp.  552-4.  Lanzi,  Ilist.  Painting,  Vol.  3,  pp.  225-6. 

LuKBKE,    Hist.  Art,  Vol.   2,  pp.   383-6.  Carr,  It.  Masters,  pi.  16,  pp.  29-30. 

VlARDOT,  Hist.  Painters,  pp.  150-2.  RUSKIN,     Mod.    Painters,    Vol.     5,    pp. 

Heaton,  Hist.  Painting,  pp.  236-7.  235-40. 

12.  Veronese's  religious  subjects  in  gorgeous  treat- 
ments; Marriage  of  St.  Catherine;  Presentat  on  in  the 
Temple;  Martyrdom  of  Saints  Marcus  and  Marcellinus; 
St,  Sebastian  and  the  Virgin  in  Glory;  Christ  on  the 
Way  to  Golgotha. 


XII,    THE  LAST  REVIVAL  OF  PAINTING  IN  ITALY. 


THE  ECLECTIC  AND  \.\TUKAI.ISTIC  .SCHOOLS. 
1575-1686  A.    1). 

I.  Lodovico  Caracci,  the  founder  of  the  Eclectic 
school  (1555-1619);  his  theory  of  painting;  his  famous 
academy  at  Bologna. 


Kudi.EK,  It.  ScIkjoIs  of  Painting,    Vol.  2,  La.nv.i,  Hist.  Painting,  Vol.  4,  pp.  293-5; 

pf).  570-3.  Vol.  5.  ])p.  96-8,  I0O-7,  112  5. 

Li'KHKE,  Hist.  Art,  Vol.  2,  pp.  524-5.  Hi.AioN,  Ilist.  Painting,  np.  250-1. 

Kniuiit,   Pict.  Gal.   Arts,   Vol.   2,   11.   p.  XiardoT,  Hist.  Painters,  pp.    164-5. 

368;  text  J)]).  370-4.  Scott,  It.  Painters,  pp.  17  8,  19-21. 
Tyti.ER,  Old  .Masters,  pp.  212-4. 


92 


HISTORY  OF  PAINTING, 


2.  Annibale  Caracci  (i  560-1 609);  his  Adoration  of 
the  Shepherds;  Madonna  of  "Silence";  St,  John  in  the 
Wilderness;  Jupiter  and  Juno;  Genius  and  Fame;  Diana 
embracing  the  sleeping  Endymion;  Galatea  coming  to 
Polyphemus;   Polyphemus  hurling  a  rock  at  Acis. 


KUGLER,    It.    Schools   of   Painting,   "Vol. 

2,  pp.  570-5. 
Ll'EBKK,    Hist.  Art,  Vol.    2,   pp.  525-7; 

Mon.    Art,    Vol.    2,     pi.  94,    text   pp. 

270-1. 
Knight,  Pict.  Gal.  Arts,  Vol.  2,  II.  p. 

368,  text  pp.  370  4- 
Tyti.er,  Old  Masters,  pp.  215-7, 
KoEHLER,  Hist.  Art,  pi.  217. 


Jameson,  Hist.  Our  Lord,  Vol.  i,  pp. 
383-4;  Vol.  2,  pp.  269-70;  Sacred  Art, 
Vol.  2,  p.  771;  Legends  of  the  Mon- 
astic Orders,  jip.  345-t). 

Lanzi,  Hist.  Painting,  Vol.  2,  pp,  179-80; 
Vol.  5,  pp.  98-110,  117-23. 

He-^TON,  Hist.  Painting,  pp.  250-1,  254. 

ViARDOT,  Hist.  Painters,  pp.  165-6. 

Scott,  It.  Painters,  pi.  4,  pp.  18-25, 


3.  Domenichino[Domenico  Zampieri]  (1581-1641); 
Martyrdom  of  St.  Agnes;  Madonna  of  the  Rosary;  St. 
John  at  St,  Petersburg;   Last  Communion  of  St.  Jerome. 


Kugler,  It.  Schools  of  Painting,  Vol.  2. 

pp.  516-8. 
Luebke,    Hist.   Art,  Vol.   2,  pp.    527-8; 

Mon.  Art,  Vol.  2,  pi.  94,  text  p.  271. 
Knight,  Pict.  Gal.  Arts,  Vol.  2,  text  p. 

374- 

Jameson,  Sacred  Atr,  Vol.  i,  pp.  229, 
298;  Vol.  2,  pp.  482,  594  5,  599-600, 
607,  612;  Legends  of  the  Monastic  Or- 
ders, pp.   35-8,  366-7. 

Lanzi,  Hist.  Painting, Vol.  5,  pp.  127-35. 

Tytler,  Old  Masters,  pp.  220-2. 


IIeaton,    Hist.   Painting,    pp.   254-6. 
ViARDOT,  Hist.  Painters,  pp.  170-3. 
Hare,    Walks    in    Rome,     pp.    219-20, 

598  9- 
ScoTT,  It.  Painters,  pi.  5,  pp.  26-30. 
KoEHi.ER,  Hist.  Art,  pi.   217. 
EaT(1\,   Rome,    19th   Cent.,  Vol.    2,   pp. 

13-4,  57-9.  88-9. 
Tai.ne,  Florence  and  Venice,  pp.  175-7. 
H.'Vi.i,,   Gems  of  European  Art,   Vol,  2, 

pi.  2,  pp.  3-6. 


4,     Guido  Reni  (i 575-1642);   Madonna  della  Pieta 
at  Bologna;    Alassacre    of  the    Innocents;    Abduction  of 


HISTORY  OF  PAINTING.  93 

Dejanira;  Crucinxion  in  the  Modena  gallery;  St.  Se- 
bastian; Ecce  Homo;  Penitent  Magdalen;  Massacre  of 
the  Innocents. 

KfGLER,   It.    Schools  of  Painting,   Vol.  Knight,  Pict.  Gal.  Arts,  Vol.  2,  II.  p. 

2,  PP-  579-80-  369,  text  pp.  374  5. 

LUF.BKK,    Hist.   Alt,  Vol.  2,  pp.   628-9.  Hkaton,  Hist.  Painting,  pp.  256-7. 

JamksoN,    Hist.    Our    Lord,    Vol.    1,    p.  Tvti.ER,  OKI  Masters,  pp.  218-9. 

205.  Scott,  It.  Painters,  pp.  31-4. 

SWEKTSER,  Guido,  pp.    7-26,   45,   53-4,  Vi.\RDOT,  Hist.  Painters,  p.  167. 

79-150.  KoElll.ER,  Hist.  Art,  pi.  217. 

5.  Guido's  fresco  in  Rospigliosi  Palace — Phoebus 
and  Aurora  (compare  Guercino's  treatment  of  the  same 
subject);  Beatrice  Cenci  in  Barberini  Palace. 

KUGLER,  It.  Schools  of  Painting,  Vol.  2,  Sweetser,  Guido,  pp.  27,  34-41. 

pp.  580-2.  Heaton,  Hist.  Painting,  p.  257. 

LUEBKE,  Hist.  Art,  Vol.  2,  p.  529;  .Mon.  Scott,  It.  Painters,  p.  32. 

Art,  Vol.  2,  pi.  94,  text  p.  271.  Viakdot,  Hist.  Painters,  pp.  167-9, 

6.  Gucrcino  [Giovanni  Francesco  Barbieri]  (1590- 
1666);  St.  Petronilla  in  the  Capitol  at  Rome;  Aurora  in 
Villa  Ludovisi,  Doubting  Thomas. 

KuGi.ER,  It.  Schools  of  Painting,  Vol.  2,  Jameson,  Hist.  Our  Lord,    Vol.   i,    pp. 

pp.  582-3.  141,258. 

LuEHKE,   Hist.   Art,   Vol.   2,  pp.   530-1;  Las/.i,  Hist.  Painting,  Vol.  5,  pp.  164-9. 

Mon.  Art,  Vol.  2,  PI.  94,  text  pp.  271-2.  VlAKU(»r,  Hist.  1  ainters,  pj).  173  4. 

Scott,  It.  Painters,  pp.  35-6.  Heaton,  Hist.  Painting,  pp.  257-S. 

7.  Carlo  Dolce,  the  Florentine  Eclectic  and  master 
of  excessive  finish  (161 6-1 686);   Christ  Child;  Angel  with 


94 


HISTORY  OF  PAINTING. 


Lilies;    Madonna   and    Child;  St.    Cecilia;    St.    Andrew 
Praying  before  the  Cross 

KuGi.ER,  It.  Schools  of  Painting,  Vol.  2,       Lanzi,  Hist.  Painting,  Vol.  i,  pp.  310-1. 

p.  589.  ViARDOT,  Hist.  Painters,  pp.  178-9. 

LuEBKE,  Hist.  Art,  Vol.  2,  p.  531.  Scott,  It.  Painters,  pp.  57-9. 

8.  Caravaggio  [Michelangelo  da  Caravaggio]  the 
Roman  Naturalistic  (1569-1609);  Descent  from  the  Cross; 
Christ  at  Emmaus;  Fortune  Teller;  the  Gamesters. 


KUGLER,  It.  Schools  of  Painting,  Vol.  2,       Lanzi,  Hist.  Painting,  Vol.  2,  pp.   179, 


PP-  591-3- 
Ldebke,    Hist.   Art,  Vol.   2,  pp.    531-3; 

Men.  Art,  Vol.  2,  pi.  94,  text  p.  272. 
Jameson,   Legends  of  the  Madonna,  p. 

316;  Sacred  Art,  Vol.  i,  p.  146. 


199-20 
Viardot,  Hist.  Painters,  pp.  182-4. 
Heaton,  Hist.  Painting,  pp.  258-60. 
KoEHi.KR,  Hist.  Art,  pi.  218. 


9.  Salvator  Rosa,  the  Neapolitan  Naturalistic  (1615- 
1673);  Conspiracy  of  Catiline;  Witch  of  Endor;  Samuel 
Appearing  to  Saul;  Soldiers  Gambling;  St.  Jerome  at 
Prayer;  Diogenes  searching  for  an  Honest  Man;  Heads 
of  Brigands. 


KUGLER,  It.  Schools  of  Painting,  Vol.  2, 

pp.  S90-3,  596-8. 
LuEBKE,  Hist.  Art,  Vol.  2,  p.  580;  Mon. 

Art,  Vol.  2,  pi.  94,  text  pp.  272. 
Viardot,  Hist.  Painters,  pp.  186-7. 
Tytler,  Old  Masters,  pp.  222-4. 


Heaton,  Hist.  Painting,  pp.  261-2. 
Scott,  It.  Painters,  pi,  8,  pp.  37-40. 
KOEHI.KR,  Hist.  Art.  pi.  218. 
Hall,    Gems  of  European  Art,  Vol.  i, 
pi.  8,  pp.  25-8. 


HISTORY  OF  PAINTING. 


95 


XIII —PAINTING  IN  FLANDERS. 


THE  EARLY  PERIOD. 


[1410-1530.  A   n  ] 


I.     The  earliest  development  of  painting  in  Germany 
and  the  Netherlands;  effects  of  the  guild  system  on  art. 


Conway,  Early  Flemish  Painters,  pp. 
1-88. 

WoLTMANNandWoERMANN,  Hist.  Paint- 
ing, Vol  2,  pp.  41-97. 

Frome.ntin,  The  Old  Masters,  pp. 
122-40. 

KuGLER,  German,  Flemish  and  Dutch 
Schools,  Vol.  I,  pp.  1-48. 

LUEBKE,  Hist.  Art,  Vol.  i,  pp.  551-6; 
Vol.  2,  pp.  85-94,  420  4. 

Kmght,  Pict.  Gal.  Arts,  Vol.   2,   text  p. 

375- 
WoRNUM,  Epochs  of  Painting,  pp.  130-2. 


WoLTMANN  and  WOERMANN,  Hist. 
Painting,  Vol.  i,  pp.  257-76,  304-11, 
312-5,  369-74,  399-404.  406-21. 

Crowe  and  Cavalcasei.i.e,  Flemish 
Painters,  pp.  1-29 

Viardot,  Hist.  Painters,  pp.  231-5. 

Heaton,    Hist.     Painting,    pp.    309-23, 

361-3- 
Scott,  The  Little  Masters,  pp.  1-16. 
KoKHi.EK,  Hist.  Art,  pi.  219. 
Taine,    Art    in    the    Netherlands,     pp 

61-80. 


2.  The  brothers  Hubert  and  John  Van  Eyck  (1366- 
1440);  characteristics  of  their  style;  their  altar-piece,  the 
Mystic  Lamb  (Ghent  and  Berlin);  John  Van  Eyck's 
portraits  of  John  Arnolfini  and  his  wife  (Nat.  gal.  London); 
portrait  of  the  "Man  with  the  Pinks",  (Vienna  gallery). 


96 


HISTORY  OF  PAINTING. 


Conway,    Early  Flemish   Painters,    pp. 

125-59- 
Fromentin,     The     Old    Masters,     pp. 

320-7. 
Woi.TMANN  andWoERMANN,  Hist.  Paint- 
ing, Vol.  2,  pp.  7-18. 
RoscoE,  Belgium,  pp.  92-5,  100. 
KuGLER,    German,  Flemish   and   Dutch 

Schools,  Vol.  I,  pp.  49-74. 
LlEBKE,     Hist.    Art,    Vol.    2,    p.    420, 

425-36;  Mon.  Art,  Vol.  2,  pi.  81,   text 

p.  238  9. 
D'Agincourt,  Hist.  Art,  Vol.  3,  pi.  164. 
Knight,  Pict.  Gal.  Arts,  Vol.  2,  text  pp. 

375.  378- 


Lacroix,  Art  Mid.  Ages,    pp.  299-301. 
ViARDOT,  Hist.  Painters,  pp.  269-74. 
DoHMK,  Early  Masters,  pp.  209-30. 
Heaton,    Hist.    Painting,    pp.    363-83; 

Flemish  Art,  pp.  14-20,  26-9. 
Tytler,  Old  Masters,  pp.  41-8. 
Taine,    Art    in    the    Netherlands,    pp. 

83-1 10. 
Stephens,  Flemish  and  French  Pictures, 

PP-  31-3- 
Crowe    and    Cavai.caselle,     Flemish 

Painters,  pp.  34-73. 
Jameson,  Sacred  Art,  Vol.    i,  pp.  113, 

156;  Vol.  2,  pp.  448,  496. 
WoRNUM,  Epochs  of  Painting,  pp.  137-44. 


3.  Roger  van  der  Weyden  (1400- 1464);  Descent 
from  the  Cross  (the  Escorial);  Pieta,  Nativity  and  Appa- 
rition of  Christ  to  Mary  (BerHn). 


Conway,    Early   Flemish   Painters,    pp. 

160-82. 
WOLTMANN       and       WOERMANN,       Hist. 

Painting,  Vol.  2,  pp.  22-8. 
KiGi.ER,    German,   Flemish  and  Dutch 

Schools,  Vol.   I,  pp.  77-85. 
LuEBKE,  Hist.  Art,  Vol.  2,  pp.  437-41 . 
Knight,    Pict.    Gal.   Arts,    Vol.   2,    text 

P-  378. 


Heaton,     Hist.    Painting,  pp.    387-90; 

Flemish  Art,  pp.  29-31. 
Stkthi'.ns,  Flemish  and  French  Pictures, 

pp.  38  40. 
ViAUDoT,  Hist.  Painters,  p.  274. 
KoEHi.ER,  Hist.  Art,  pi.  220. 
Crowe    and     Cavai.caselle,    Flemish 

Painters,  pp.  182-229. 
WoRNUM,  Epochs  of  Painting,  pp.  146-7. 


4.  Hans  Memling  (  ?-i495);  the  Adoration 
(Turin);  the  Crucifixion  and  the  Annunciation  (Liibec 
cath.);  Nativity  and  Presentation  in  the  Temple  (St. 
John's  Hospital,  Bruges);  portrait  of  Mary  Moreel 
(Sibylla  Sambetha),  in  the  same  hospital;  the  series  of 
pictures  on  the  Reliquary  of  St.  Ursula. 


HISTORY  OF  PAINTING. 


97 


Conway,  Early  Flemish  Painters,  pp. 
235-68. 

WoLT-MANN  and  WoERMANN,  Hist.  Paint- 
ing, Vol.  2,  pp.  32-8. 

Frome.ntin,  Old  Masters,  pp.  327-39. 

RoscoE,  Belgium,  pp.  52-7. 

Kuc.LER,  German,  Flemish  and  Dutch 
Schools,  Vol.  I,  pp.  92-104. 

LuEDKE,  Hist.  Art,  Vol.  2,  pp.  441-4; 
Mon.  Art,  Vol.  2,  pi.  81,  text  pp. 
239-40. 

Knight,  Pict.  Gal.  Arts,  Vol.  2,  text  pp. 
378-9. 


Stephens,  Flemish  and  French  Pictures, 

pi.  3,  pp.  40-7. 
Tytler,  Old  Masters,  pp.  48-50. 
Heaton,   Flemish  Art,   pp.  32-6;  Hist. 

Painting,  pp.  390  4. 
KoEHi.ER,  Hist.  Art,  pis.  220-1. 
Crowe    and     Cavalcaselle,    Flemish 

Painters,  pp.  251   99. 
ViARDOT,    Hist.    Painters,    pp.    277  9 ; 

Wonders  of  European  Art,  pp.  120- 8. 
Jameson,   Hist.   Our  Lord,  Vol.    i,   pp. 

137-8. 


5.  Quentin  Alatsys  (1466-1530):  altar-piece  now  in 
the  Museum  at  Antwerp;  the  Misers;  the  Money  Changers 
in  the  Louvre. 


VVoi.TMANN      and      Woerman.n,     Hist. 

Painting,  Vol.  2,  pp.  62-4. 
Kl\;ler,    German,    Flemish  and  Dutch 

Schools,  Vol.  I,  pp.  U4-7. 
l,t;KBKE,  Hist.  Art,  Vol.  2,  pp.  446  7. 
Knic.ht,  Pict.   Gal.   Arts,   Vol.   2,    II.  p. 

376.  text  p.  379. 
DoHME,  Early  .Masters,  pp.  253-73. 


Koehi.er,  Hist.  Art,  pi.  228. 
Steimiens,  Flemish  and  French  Pictures, 

pp.  54  61. 
Heaion,  Hist.  Painting,  pp.  396-401. 
ViAurxJT,     Hist.     Painters,     pp.    280-2; 

Wonders  of  European  Art,  pp.  128-30 
Tyti.ek,  Old  Masters,  pp.  50  2. 
WoK.NiM,  Epochs  of  Painting,  pp.  267-9. 


98 


HISTORY  OF  PAINTING. 


XIV.-PAINTING  IN  FLANDERS. 


THE  LATER  PERIOD. 


[160O-167O   A.    v.] 

I.  Peter  Paul  Rubens,  the  greatest  Flemish  master 
( 1 577-1 640);  his  fortunate  life;  his  visits  in  Italy,  Spain, 
France  and  England;  peculiarities  of  his  style. 


KuGLER,    German,  Flemish   and  Dutch 

Schools,  Vol.  2,  pp.  275-82. 
Knight,  Pict.  Gal.  Arts,  Vol.  2,  text  p. 

387. 
Jamkson,  Sketches  of  Art,    pp.   217-21. 

VlARDOT,     Hist.     Painters,     pp.    294-6; 

Wonders  of  European  Art,  pp.  133-5. 
Heaton,    Hist.    Painting,    pp.  418-21, 

423-5.  426-8;  I'lemish  Art,    pp.  80-9. 
RusKiN,    Mod.     Painters,     Vol.    i,    pp. 

88-90;  Vol.  5,  pp.  266-7. 
Fromentin,      The    Old     Masters,     pp. 

99-107. 
Stephens,  Flemish  and  French  Pictures, 

pp.  94-7. 
WORNUM,  Epochs  of  Painting,  pp.  396-8. 


LuEBKK,  Hist.  Art,  Vol.  2,  pp.  541-3. 
Casseil,    Art    Treasures,    pp.     186-90, 

195-202,  204-11. 
Tytler,  Old  Masters,  pp.  225-36. 
JARVE.S,  Art  Thoughts,   pp.  182-4. 
Taine,    Art    in    the    Netherlands,     pp. 

78-80,  135-60. 
Reynolds,    Discourses  on   Art,  Vol.  2, 

pp.  228-36. 
Rett,  Rubens,  pp.  1-62,  78-82,  94-102, 

107-14. 
Waagen,     Rubens;     preface     by     Mrs. 

Jameson. 
Bi.anc,  Painters  of  All  Nations,  Eng.  ed., 

PP-  "3-37- 


2.  Church  pictures  by  Rubens;  Descent  from  the 
Cross;  Elevation  of  the  Cross;  Last  Communion  of  St. 
Francis;  Holy  Family  in  the  Church  of  St.  Jacques  at 
Antwerp;  Last  Judgment  in  the  Pinakothek  at  Munich; 
Madonna  of  the  Parrot;  Crucifixion  of  St.  Peter. 


HISTORY  OF  PAINTING. 


99 


KuGi.ER,    German,  Flemish   and   Dutch 

Schools,  Vol.  2,  pp.  282-6. 
LUF.BKE,  Hist.  Art,   Vol.  2,  pp.   543-5; 

Men.  Art,  Vol.    2,    PI.  95,    Text   pp. 

272-3. 
Frome.ntin,  The  Old  Masters,  pp.  55-71, 

95-9.  76-9- 
ViAKDOT,     Hist.     Painters,     pp.    296-8; 

Wonders  of  European  Art,  pp.  136-42. 
Kktt,  Rubens,  pp.  66-8,  71-3,  105-6. 
Hk.aton,      Hist.     Painting,    pp.     422-3; 

Flemish  Art,  pp.  84  5. 
Knicht,    Pict.    Gal.   Arts,  Vol.  2,   II.   p. 

384,  Text  p.  3S7. 
KOEHLER,  Hist.  Art,  PI.   231. 


Jameson,  Sketches  of  Art,  p.  216;  Sacred 

Art,  Vol.   I,  p.    no;   Vol.   2,  p.    430; 

Hist,  our  Lord,  Vol.  i,  pp.  61-2,  373; 

Vol.  2,  pp.  224-5,  234-5-  349-50- 
Burnett,  Rembrandt,  pp.  36-8,  58-60. 
Grimm  M.  Angelo,  Vol.  2,  pp.  462-5. 
Stephens,  Flemish  and  French  Pictures, 

pp.  97-8. 
Cassell,  Art  Treasures,  pp.  191-5. 
Tytler,  Old  Masters,  pp.  236-7. 
Reynolds,  Discourses  on   Art,   Vol.   2, 

pp.   146-50,    152,    155,    157-61,   164-7, 

177-81,  220-2. 
WoR.NUM,  Epochs  of  Painting,  pp.  399- 

401. 


3.  Dramatic  and  historical  pictures  by  Rubens; 
History  of  Marie  de  Medici  in  the  Louvre;  Battle  of  the 
Amazons  in  Munich;  St.  Ambrose  and  the  Emperor 
Theodosius. 


KUGLER,  German,  Flemish  and  Dutch 
Schools,  Vol.  2,  pp.    284,  286-9. 

I.IRBKE,  Hist.  Art,  Vol.  2,  pp.  545-7; 
Mon.    Art,    Vol.    2,    pi.    95,    text    pp. 

273-4- 
KoiiiiER,  Hist.  -\rt,  pi.  230. 


Jameson,  Sacred  Art,  Vol.  i,  p.  307. 
ViARlJor,    Hist.    Painters,  pp,    299-300; 
Wonders  of  European  Art,  pp.  143-8. 
Casski.i,,  ArtTre.nsures,  pp.  190-1,  194  5, 

203-5- 
Kr.TT,  Rubens,  p.  51. 


4.  Rubens'  works  in  landscape  and  animal  painting; 
various  pictures  of  the  chase  in  Munich,  Dresden,  Berlin 
and  Vienna. 


Krni.ER,    German,    Flcmi->h    and   Dutch 

Schools,  \'()1.  2,  [ip.  290   I. 
I.rEltKE,  Hist.  Art,  Vol.  2,  jip.  547-S. 
KsKiHT,    Pict.   Cial.    .Arts,    Vol.   2,  II.  p. 

384,  text  p.  387. 


Koiiii.KK,  Hist.  ,\tt,  pi.  231. 
\'lAKl)«)i',  Hist,  I'aintcrs,  ])p.   299-300. 
Hea TON,  Flemish  Art,  j).  88. 
Tvri.EK,  Old  Masters,  pp.  23S  45. 


HISTORY  OF  PAINTING. 


5.     Allegorical  pictures  by  Rubens ;  the  Four  Quarters 
of  the  World;   Peace  and  War;   the  Victor's  Apotheosis. 


LuEBKE,  Hist.  Art,  Vol.  2,  pp.  546-7. 
K0EHI.ER,  Hist.  Art,  pi.  230. 


ViARDOT,  Hist.  Painters,  pp.  295-9. 
Kett,  Rubens,  pp.  icx>-i. 


6.  Portraits  by  Rubens;  Marie  de  Medici;  Isabella 
Brandt;  Helena  Fourment;  Himself,  Wife  and  Child; 
Himself,  Brother  and  Friends;  His  Sons;  Lady  of  the 
Boonen  Family;  the  Duke  of  Buckingham;  Rubens  and 
his  first  Wife. 


KuGi.ER,  German,  Flemish  and  Dutch 
Schools,  Vol.  2,  p.  289. 

KoEHLER,  Hist.  Art,  pi.  230. 

ViARDOT,  Hist.  Painters,  p.  299;  Won- 
ders of  European  Art,  pp.    142-3,  146. 

Tytler,  Old  Masters,  pp.  240-5. 


Fromentin,     The     Old     Masters,     pp. 

80-94. 
Reynolds,  Discourses  on  Art,  Vol.  2,  pp. 

187-8. 
Kett,  Rubens,  pp.  64,  iio-i. 


7.     Anthony    Van    Dyke,    the    Flemish    master    in 
portraiture  (i  599-1641). 


Kl'GLER,    German,    Flemish    and  Dutch 

Schools,  Vol.  2,  pp.  301-2. 
Llebke,  Hist.  Art,  Vol.  2,  pp.  548,  550. 
Knight,  Pict.  Gal.  Arts,  Vol.  2,  text  pp. 

387.  390- 
ViARDOT,     Hist.     Painters,     pp.     304-5; 

Wonders  of  European  Art,  pp.  150-1. 
Heaton,    Hist.     Painting,     pp.     428-9; 

Flemish  Art,  pp.  90-1. 
Tytler,  Old  Masters,  pp.  333-8,  342-7. 


Fromentin,     The     Old     Masters,     pp. 

108-14. 
Stephens,  Flemish  and  French  Pictures, 

pp.  102^5. 
Cassell,  Art  Treasures,  pp.  150-8. 
SWEETSER,  Van  Dyke,  pp.  7-25,  33-41, 

59-70,  124-38. 
Head,  Van  Dyke,  Gt.  Artist  Series,   pp. 

I-17,  20-2,  39-45.  50-9- 
WoRNUM,  Epochs  of  Painting,  pp.  404-7. 


HISTORY  OF  PAINTING.  loi 

8.  Van  Dyke's  religious  pictures  compared  with 
those  of  Rubens;  Holy  Family  with  Angels:  Marriage  of 
St.  Catherine;  Entombment  of  Christ;  Descent  from  the 
Cross;  the  Crucifixion;  Madonna  of  St.  Anthony;  Ecstasy 
of  St.  Francis;   Repose  in  Egypt. 

KuGLF.R,    German,    Flemish    aud  Dutch  Viardot,  Hist.  Painters,  pp.   315-6. 

Schools,  Vol.  2,  pp.  302-4.  IIkaton,  Flemish  Art,  pp.  91-2. 

LuKBKK,    Hist.    Art,   Vol.   2,  pp.  548-9;  Cassell,  Art  Treasures,  pp.  158-9. 

Men.  Art,  Vol.  2,  pi.  95,  text  p.  274.  Swkktsf.r,  Van  Dyke,  pp.  40-6,  52-8. 

Knight,  Pict.  Gal.   Arts,  Vol.  2,  II.  p.  Hkad,  Van  Dyke,  pp.  17-S,  22-4,  30-4, 

385,  text  pp.  389-90.  81-2. 

9.  Van  Dyke's  rank  among  the  portrait  painters; 
General  Francesco  in  the  Louvre;  Charles  I.  and  his 
Horse  in  the  Louvre  and  in  Windsor  Castle;  Children  of 
Charles  L;  Pembroke  Family;  Rubens;  Van  Dyke  and 
his  Family;  Duke  of  Nassau;  Treasurer  of  Antwerp; 
Wife  of  the  same. 

Kur.i.F.R,    German,    Flemish    and    Dutch  Hi;.'\T().n",     Hist.     Painting,     pp.     430-2; 

Schools,  Vol,  2,  i)p.  305  7.  Flemish  Art,  pp   92-5. 

LuK.nKi;,   Hist.   Art,   Vol.   2,   i>p.  549  51;  Si  ki'Mkns,  Flemish  and  French  Pictures, 

Mon.   Art,   Vol.  2,  pi.  95,  te.xt  pp.  272,  pp.  105  8. 

274.  TvTi.KK,  Old  Masters,  pp.  338-41,  34S  53. 

Kmghi,   Pict.   Gal.   Arts,   Vol.   2,   II.    p.  C  \ssF.i.i.,  Art  Treasures,  ji]).    159-O6. 

385,  text  p    390.  SvVFF.TSKR,  Van  Dyke,  pp.  28-33,  46-52, 

Viardot,     Hist.    Painters,     pp.    306-S;  74-83,  87-123. 

Wonders  of  European  Art,   pp.    152-6.  Hkad.  Van  Dyke,  \)\k  26-7,  46-8,  60-Si. 
KoKlll.KR,  Hist.  .\rt,  pl.  231. 

10.  David  Teniers  the  younger,  the  greatest  Flemish 
painter  of  common  life  (i  610-1694);  examples  of  genre 
painting  before  his  time. 


HISTORY  OF  PAINTING. 


KUGLER,  German,  Flemish  and  Dutch 
Schools,  Vol.  2,  pp.  321-4. 

LUEBKE,  Hist.  Art,  Vol.  2,  pp.  566-7. 

Stephe.ns,  Flemish  and  French  Pictures, 
pp.  23-4,  1 1 2-4. 

ViARDOT,  Hist.  Painters,  p.  313;  Won- 
ders of  European  Art,  pp.  158-60. 


Heaton,     Hist.     Painting,     pp.    437-7; 

Flemish  Art,  pp.  95-8. 
Cassell,  Art  Treasures,  pp.  367-71. 
B1..A.NC,  Painters  of  All  Nations,  eng.  ed., 

pp.  17-30. 
WOKNUM,  Epochs  of  Painting,  pp.  444-5. 


II.     Teniers' pictures  of  village  feasts  and  smoking- 
scenes;  scenes  in  kitchens,  taverns,  shops  and  laboratories. 


KuGLER,    German,    Flemish    and  Dutch 

Schools,  Vol.  2,  pp.  325,  327. 
Knigh  r,   Pict.   Gal.   Arts,  Vol.  2,  II.   p. 

392. 
Heaton,  Flemish  Art,  pp.  98-9. 


VlARDOT,  Hist.  Painters,  pp.  313-5;  Won- 
ders of  European  Art,  pp.  159-63. 

Cassell,  Art  Treasures,  pp.  371,  4,  375-8, 
379-83- 


12.  Teniers'  pictures  of  serious  subjects;  Prodigal 
Son;  Temptation  of  St.  Anthony;  Archers  at  Antwerp; 
Sacrifice    of  Isaac;  Peter  Denying  Christ. 


Kl'gler,    German,    Flemish    and  Dutch 

Schools,  Vol.  2,  pp.  324-6. 
LUEBKE,  Hist.  Art,  Vol.  2,  pp.  556-8. 
Stephens,  Flemish  and  French  Pictures, 

p.  113. 
Heaton,  Flemish  Art,  pp.  98-g. 


VlARDOT,     Hist.     Painters,     pp.     313-4; 

Wonders  of  European  Art,  p.    116. 
Cassell,     Art     Treasures,     pp.    374-5, 

378-9- 
WoRNUM,   Epochs  of  Painting,  pp.  416- 

24,  426-33. 


HISTORY  OF  PAINTING.  103 


XV.— PAINTING  IN  THE  NETHERLANDS. 


REPRESENTATION  OF  ACTUAL  LIFE. 


[1630    1680    A.     I).] 

1.  Rembrandt  Van  Ryn,  the  greatest  master  of  the 
Dutch  School  (1607- 1 669);  his  pecuHar  personal  traits 
and  artistic  style;  criticism  of  his  contemporaries. 

Fromentin,   The   Old  Masters,    pp.   299-  TYTi.iiK,  Old  Masters,  pp.  245-9. 

313.  Jamkson,  Sketches  of  Art,  pp.  221-3. 

Ki'(;lkr,    German,    Flemish    and  Dutch  .Swf.kiskr,    Rembrandt,   pp.   7-35,  4S-9, 

Schools,  Vol.  2,  pp.  363-8.  84  98,  114  6,  127  46. 

LiEBKE,    Hist.    Art,  Vol.  2,  pp.  555-6.  Moi.i.r.iT,    Rembrandt,    pp.    1-22,  27-8, 

Knk;ht,    Pict.    Gal.    Arts,    Vol.  2,  text  34-6,  46  52,  68-72. 

pp.  390-1.  Jakvks,  Art  Thoughts,  pp.   182-4. 

ViAKlxjT,     Hist.     Painters,     pp.     330-1;  RlsKi.N,  Mod.  I'ainter.s,  Vol.  4,  pp.  3S-42. 

Wonders  of  European  Art,  pp.    174  6.  Taink,    Art    in    the    Netherlands,     pp. 

Casskm.,  Art  Treasures,  pp.  219-22.  180  5. 

Stf.I'IIENS,  Flemish  and  French  Pictures,  Hvmikion,    Etchings  and  Etchers,   ])p. 

pp.  136-43.  72  82. 

HkaTon,     Hist.     Painting,     pp.     442-5;  IJukni.TT,  Rcndir.nndt,    pp.    1-15,    17-21. 

Flemish  Art,  pp.  100-7. 

2.  Rembrandt's  treatment  of  religious  subjects; 
Descent   from   the   Cross;    Woman   Taken    in    Adultery; 


I04 


HISTORY  OK  PAINTING. 


Tobit  and    the   Angel;    Jacob    and  the  Sons  of  Joseph; 
Good  Samaritan. 


Kucn.ER,   German,    Flemish    and    Dutch 

Schools,  Vol.  2,  pp.  369-72. 
LuEBKE,    Hist.    Alt,    Vol.    2,    p.   557-9; 

Mon.  Art,  Vol.  2,  pi.  96,   text  p.   275. 
Knight,  Pict.  Gal.  Arts,  Vol.  2,  II.  pp. 

385,388,  text  pp.  391-4. 
KoKHi.KR,  Hist.  Art.  pi.  235. 
VlARDor,  Hist.  Painters,  pp.  332,  334-6; 

Wonders   of    European    Art,  pp     177, 

185-7,  190-1. 
Cassell,  Art  Treasures,  pp.  222-7,  231-5; 
Burnett,  Rembrandt,  pp.  21-9,  60-S. 


Jameson,  Legends  of  the  Madonna,  pp. 

192-3;    Hist.    Our    Lord,   Vol.    i,    pp. 

150-1,    330-1,    360,    363;  Vol.    2.    pp. 

32-3,  94-6,  212,  225,  241-2,  296-7. 
SWEETSER,  Rembrandt,  pp.  35  6,  67-8, 

70-1,  74  5,  77-81,  111-3. 
Moi.i.i  I  r,   Rembrandt,  pp.  25-6,  39-40, 

54-5,  62  0. 
Grimm,  M.  Angelo,  Vol.  2,  pp.  465-6. 
Hamkrton,   Etchings   and   Etchers,  pp. 

82-8. 


3.     Rembrandt's    pictures   of  local    interest;     Night 
Watch;  Anatomical  Lecture;  Two  Philosophers. 


WORNUM,  Epochs  of  Painting,  pp.  425. 
Fromentin,     The      Old    Masters,      pp. 

218-23,  245-75,  295-8,  290. 
Kt'Gi.ER,    German,    Flemish  and    Dutch 

Schools,  Vol.  2,  pp.  368-9,  373-4. 
LUEBKE,    Hist.    Art,    Vol.    2,    pp.    557  : 

Mon.    Art,    Vol.    2,    pi.    96,    text    pp. 

274-6. 
Kmgh'I,  Pict.  Gal.  Arts,   Vol.   2,   text  p. 

39  ^■ 
Kor.Hi.KK,  Hist.  Art,  pi.  234. 
C.ASSKi.i.,    Art    Treasures,     pp.     227-30 

235-8,  240-1. 
Moi.i.f.tt,   Rembrandt,   pp.    23-5,   43-5, 

60-2. 


Viakdot,  Hist.  Painters,  pp.  332-3,  336, 
Wonders  of  European  Art.  pp.  177-82, 
189-go. 

Si'Krni'.NS,  Flemish  and  French  Pictures, 

PP-  143  5- 
Hkato.v,     Hist.     Painting,    pp.     445-S  ; 

Plemish  Art,  pp.  107-9. 
SwKETSKR,  Rembrandt,   pp.   37-9,  82-5, 

108   10,  127-8. 
Reynolds,    Discourses  on    Art,   Vol.   2, 

pp.  19S  9. 
Hamkrton,    Etching  and    Etchers,    pp. 

S^-9'.  95-^- 
BiRNKTT,    Rembrandt,     pp.    4-5,    40-2, 

47-51.  74-7- 


4.      Rembrandt's  peculiar  style  in    portraiture;     Old 
Man  with  a  Beard;   Burgomaster  Six;   Rembrandt's  Wife; 


HISTORY  OF  PAINTING. 


105 


Rembrandt's  Mother;  Man  with  a  Large  Hat;  Shipbuilder 
and  his  Wife;  Jewish  Rabbi;  Old  Woman  of  Eighty-three. 


Fromentin,     The     Old    Masters,     pp. 

278-94. 
KUGLER,    German,   Flemish  and  Dutch 

Schools,  Vol.  2,  pp.  372-3. 
LuEBKE,    Hist.  Art,  Vol.  2,    pp.  556-7, 

560-1;  Mon.  Art,  Vol.  2,  pi.  96,  text  p. 

275. 
VlARDOT,  Hist.  Painters,  pp.  333.  335-6; 

Wonders  of  European   Art,    pp.    183, 

187-9. 
Burnett,  Rembrandt,  pp.  42-7,  72-3. 


Cassell,    Art  Treasures,    pp.  226,  231, 

238-40. 
Stephens,  Flemish  and  French  Pictures, 

pp.  138-9. 
Tytler,  Old  Masters,  note  on  pp.  249-50. 
Sweetser,  Rembrandt,  pp.  36-7,  39-42, 

49-60,  71-4,  loo-i,  105-7. 
Mollett,  Rembrandt,  pp.  22-3,  28-33, 

36,  38-9,  53-4,  57-9,  72-4,  76-7. 
Hamerton,    Etching   and  Etchers,    pp. 

91-4. 


5.  Gerard  Dow,  the  master  of  details  (1613-1680); 
Tobitand  his  Son;  Woman  sick  of  the  Dropsy;  Evening 
School;  Burgomaster  Werff  and  his  Wife. 


Kugler,    German,  Flemish   and   Dutch 

Schools,  Vol.  2,  pp.  405-7. 
Luebke,  Hist.  Art,   Vol.  2,  pp.    571-2; 

Mon.  Art,  Vol.  2,  pi.  96,  text  p.    276, 
Heaton,     Hist.    Painting,   pp.    449-52; 

Flemish  Art,  pp.  126-30. 


Viardot,    Hist.    Painters,    pp.    242-3 ; 

Wonders   of  European  Art,   pp.    198- 

200. 
KoEHLER,  Hist.  Art,  pi.  235. 
GowER,    Figure    Painters    of   Holland, 

PP-  35-9- 


6.  Adrian  van  Ostade,  the  Rembrandt  of  genre 
painters  (1610-1685);  Itinerant  Fiddler;  Peasants  at  the 
Tavern;  Game  at  Cards. 


Kugler,    German,  Flemish    and  Dutch 

Schools,  Vol.  2,  pp.  418-21. 
Luebke,  Hist.  Art,  Vol.  2,  p.  568;  Mon. 

Art,  Vol.  2,  PI.  100,  text  p.  282. 
Viardot,    Hist.     Painters,    pp.    340-2  ; 

Wonders  of  European  Art,   pp.  197-8. 


Heaton,     Hist.     Painting,     pp.    457-8; 

Flemish  Art,  pp.  143-7. 
Ca.ssei.i.,  Art  Treasures,  pp.  243-59. 
KoEHLEK,  Hist   Art,  pis.  236-7. 
GowER,    Figure    Painters    of    Holland, 

pp.  21-6. 


io6 


HISTORY  OF  PAINTING. 


7.  Philip  Wouvermans  (161 9-1668),  Paul  Potter 
( 1 625-1 654)  and  Albert  Cuyp  (i 606-1 672),  landscape 
and  animal  painters. 

a.  Wouvermans  Hawking  Scene,  Pistol  Shot,  Riding 
School  and  Going  to  the  Ferry. 

t.  Paul  Potter's  Young  Bull,  Farm-yard  Scene, 
Landscape  of  Animals  at  St.  Petersburg. 

C.  Cuyp's  Pasture  on  the  Meuse;  Landscape 
Number  Nine,  Dulwich  Gallery;  his  many  other  pictures 
of  river,  meadow  and  cattle. 


Fromentin,  The  Old  Masters,  pp.  157- 

67  (b),  196-202  (c). 
WORNUM,  Epochs  of  Painting,  pp.  446-8, 

452- 
KuGLER,    German,    Flemish   and  Dutch 

Schools,    Vol.    2,    pp.   430-3,    435-40, 

459-62. 
LUEBKE,    Hist.   Art,  Vol.   2,  pp.   586-7; 

Mon.    Art,    Vol.   2,    pi.    loi,   text  pp. 

284,  286. 
ViARDOT,  Hist.  Painters,  pp.  350-1,  354- 

8;  Wonders  of  European  Art,  pp.  194- 

6,  204-5,  209-14. 


Heaton,    Hist.    Painting,    pp.    459-63; 

Flemish  Art,  pp.  1 10-25. 
Casseli,,    Art    Treasures,    pp.     259-71, 

277^91. 
KoEHLER,  Hist.  Art,  pis.  236,  238-40. 
Hamerton,    Etching   and   Etchers,    pp. 

101-2,  105. 
RusKiN,    Mod.     Painters,    Vol.    5,     pp. 

268-9,  274-5.  293-6. 
GoWER,  Figure  Painters  of  Holland,  pp. 

40-4. 
Ham,,    Gems    of  European  Art,  Vol.    i, 

pis.  15,  26,  39;  pp.  49-52,  87-8,  127-8- 


8.  Jacob  Ruysdael,  the  greatest  Dutch  master  of 
landscape  and  marine  painting  (1625  ?-i 682);  Chase  in 
Dresden;  Storm  at  Sea,  in  the  Lansdowne  Collection; 
Jewish  Cemetery. 


HISTORY  OF  PAINTING. 


107 


WoRNUM,  Epochs  of  Painting,  pp.  449-50. 
Blanc,  Painters  of  All  Nations,  Eng.  ed., 

pp.  49-62. 
Fromentin,     The     Old     Masters,     pp. 

183-95- 
LuEBKE,   Hist.   Art,  Vol.   2,  pp.  582-4; 
Mon.   Art,  Vol.   2,    pi.    101,    text   pp. 
285-6. 


KiTGLER,   German,  Flemish   and   Dutch 

Schools,  Vol.  2,  pp.  470-5. 
KoEHLER,  Hist.  Art,  Vol.  2,  pis.  239-40. 
VlARDOT,    Hist.    Painters,  pp.    359-61; 

Wonders  of  European  Art,  pp.  217-21. 
Casseli.,  Art  Treasures,  pp.  299-311. 
Stephens,  Flemish  and  French  Pionires, 

pp.  156-7. 


XVI.— EARLY  PAINTING  IN  GERMANY. 


THE  (iOLDKX   PERIOD. 

[15OO-I550    A.    1).] 

I,      Some    account    of    Martin     Schon    and   Michael 
Wohlgemuth,  the  masters  of  Albert  Durer. 


Thahsino,  Diirer,  Etonsed.,  Vol.  i,  pp. 

62-96,  240-5. 
Kugi.ER,    German,    Flemish    an<l   Dutch 

Schools,  Vol.  I,  pp.  134  8,  148  9. 
Li  r.itKK.  Hist.  Art,  Vol.  2,  pj).  457,  359- 

60,  469-70  ;  Mon.  Art,   Vol.  2,  pi.  70, 

text  pp.  240. 
Jameson,  Sacred   Art,   Vol.    i,    pp.    78, 

103,  240,  290  i;  Vol.  2,  pp.  606,  752  ; 

Legendsof  the  M.idoiina,  pp.  27,  67-8, 

286;  Hist.  Our  Lord,  Vol.    i,   p.    391; 

Vol.  2,  ]ip.  40,  80  I,    119,  155-7,  246, 

261   2,  363,  377-8. 


WoRNUM,  Epochs  of  Painting,  pp.  279-81. 

KoEHi.ER,  Hist.  Art,  pi.  222. 

Heaton,     Hist.    Painting,    pp.    324-34; 

Flemish  Art,  pp.  52-7;  Diirer,  2d  ed., 

p.  42. 
ViARix)T,  Hist.  Painters,  pp.  234-5,  242; 

Wonders  of  European  Art,  pp.  75-83. 
Fairiioi.t,  Rambles  of  an  Arch;cologist- 

pp.  190-204. 
RiSKIN",  Mod.  Painters,  Vol.  4,  pp.  322  5. 
DoilMK,  Early  Masters, Vol.  i,  pp.  73-88. 
Kniciit,    Pict.    Gal.   Arts,   Vol.   2,    lc\t 

!'•  379- 


io8 


HISTORY  OF  PAINTING. 


2.  Albert  Durer,  the  many-sided  genius  of  painting 
and  engraving  (1471-1528);  general  account  of  his  life 
and  time. 


Thausing,  Diirer,  Eaton's  ed.,  Vol.  i, 

pp.  1-61,  151-60;  Vol.  2,  pp.  285-9. 
KUGLER,   German,   Flemish    and   Dutch 

Schools,  Vol.  I,  pp.  152-5,  1 70-1. 
LuEBKE,  Hist.   Art,  Vol.   2,   pp.    471-9, 

482-3,  487-8. 
Knight,    Pict.    Gal.   Arts,    Vol.   2,  text 

pp.  379-82. 
DoHME,  Early  Masters,  pp.  89-97,  102-7, 

117-22,  125-31. 
VlARDOT,    Hist.    Painters,    pp.    242-4 ; 

Wonders  of  European  Art,  pp.  83-6. 


Tytler,  Old  Masters,  pp.  169-75. 
Cassell,    Art    Treasures,     pp.    487-94, 

496-503- 
Heaton,  Hist.  Painting,  up.  333-5,  340- 

3;  Flemish  Art,  pp.  57-64. 
RusKiN,    Mod.     Painters,    Vol.     5,    pp. 

244-9. 
Fairholt,  Rambles  of  an  Archaeologist, 

pp.  187-99,  204-15,  223-8,  255-9. 
WoLTMANN,  Holbein,  pp.  454-60. 
WoRNUM,  Epochs   of    Painting,  pp.  281 

-3,  286. 


3.  Albert  Durer's  various  portraits  of  himself,  both 
as  an  independent  subject,  and  as  introduced  in  his  pictures; 
his  portraits  of  other  persons;  Durer's  Father;  Durer's 
Mother;  Agnes  Frey  (his  Wife);  Wohlgemuth  (his 
Master);  Charlemagne;  Sigismund;  Emperor  Maximilian 
I.;  Parkheimer;  Oswald  Krell;  an  Old  Man. 


Thausing,  Diirer,  Eaton's  ed.  Vol  i, 
pp.  182-3;  Vol.  2i  pp.  92-4,  104  (himself); 
Vol.  I,  pp.  45-9  (his  parents);  92-93 
(Wolgemuth);  Vol.  2,  pp.  109-11 
(Charlemagne  and  Sigismund);  150-I 
(Max.  I  );  Vol.  i,  pp.  322-3  (Park- 
heimer); i90(Krell). 

KuGi.ER,  German,  Flemish  and  Dutch 
Schools,  Vol.  I,  pp.  155-7. 


LUEBKE,  Hist.  Art,  Vol.  2,  pp,  486-7; 
Mon.  Art,  Vol.  i,  PI.  85A;  text  p.  243. 

KoEHLER,  Hist.  Art,  pi.  224. 

DuHMK,  Early  Masters,  pp.  97-8. 

ViARDOT,  Hist.  Painters,  p.  244;  Won- 
ders of  European  Art,  p.  86. 

Heaton,  Flemish  Art,  p.  61 :  Durer,  2d 
ed.  pp.  218-20. 

Tytler,  Old  Masters,  pp.  175-6. 


HISTORY  OF  PAINTING.  109 

4.  Albert  Durer's  paintings;  Martyrdom  of  Ten 
Thousand  Saints;  Assumption  of  the  Virgin;  Adoration 
of  the  Trinity;  Four  Apostels  or  Four  Temperaments. 


KUGLER,  German,    Flemish   and   Dutch  Dohmk,  Early  Masters,  pp.  108-14,  122-4. 

Schools,  Vol.    I,    pp.     158-62,    165-7,  ViARDOT,    Hist.    Painters,    pp.    244-8; 

169-75.  Wonders  of  European  Art,  pp.  86-95. 

LUEBKE,   Hist.  Art,  Vol.  2,  pp.  479-82,  Tytler,  Old  Masters,  pp.  177-8. 

485-86;  Mon.  Art,  Vol.  2,  pis.  83,  83A,  Cassell,  Art  Treasures,  pp.  490-4. 

text  pp.  243-4.  Heaton,    Hist.     Painting,     pp.    336-9; 

Jameso.n,  Sacred  Art,  Vol.  i,  p.  162.  Flemish  Art,     pp.    64,  67;    Durer,   2d 

Knight,  Pict.  Gal.  Arts,  Vol.  2,  II.  pp.  ed.  pp.  220-49. 

372-3.  Fairhoi.t,  Rambles  of  an  Archaeologist, 

KoEHi.ER,  Hist.  Art,  Pis.  224-5.  pp.  215-8,  228-31. 
WoRNUM,  Epochs  of  Painting,  pp.  284-5. 


5.  Albert  Durer's  engravings;  Knight,  Death  and 
the  Devil;  Melancholia;  St.  Jerome  in  his  study;  the 
Passion  series;  Triumphal  Arch  and  Triumphal  Car 
of  Maximilian;  the  Apocalypse  series. 


THAf3iNG,   Dijrcr,   Eaton's  ed.,  Vol.    i,  KoEiiLER,  Hist.  Art,  pis.  224-5. 

pp.  233,  240-82,  223-7;  Vol.  2,  pp.  136-  D'Agi.ncoirt,  Hist.  Art,  Vol.  3,  pi.  165. 

51,  219  31.  DoiiME,  Early  Masters,  pp.  98-102,  114- 

Kugi.ER,   German,    Flemish    and    Dutch  7,  1 24-5. 

Schools,  Vol.  I,  pp.  156  8,  162-5,  '67-  Cassem.,  .\rt  Treasuies,  pp.  494-5- 

9    171-2.  Heaton,    Hist.    Painting,    pp.    339-40; 

LuEBKE,  Hist.   Art,  Vol.  2,   jip.   483-5.  Flemish  Art,  pp.  64-5. 

488  90;  Mon.  Art,  Vol.   2,   i)l.  83;  text  RusKIw,  Mod.  Painters.Vol.  5,  ])p.  252-4. 

pp.  241-3.  Faikhoi.T,  Rambles  of  an  Archa;ologist, 

Jameson,  Hist.   Our  Lord,  Vol.  2,  pp-  pp.  219  21. 

367  9;  IvCgends  of  the  Monastic  Orders,  Tyti.er,  Old  Masters,  pp,  178-80. 

p.  186;  Sacred  Art,  Vol.  2,  pp.  735-7. 

6.     Lucas  Cranach,  the  painter  of  the  Reformation 


HISTORY  OF  PAINTING. 


(1472-1553);  Fountain  of  Youth;  Crucifixion  at  Weimar; 
Fall  and  Redemption;  Christ  and  Children;  Portrait  of  a 
Lady  at  Munich. 


KuoLER,   German,   Flemish  and   Dutch       Jameson,  Sacred  Art,  Vol.  i,  pp.  291-2, 


Schools,  Vol.  I,  pp.  188-94. 
LUEBKE,   Hist.   Art,  Vol.  2,  pp.  507-11; 

Mon.    Art,    Vol.  2,    pi.    83,    text    pp. 

246-7. 
VlARDOT,     Hist.     Painters,     pp.    251-3  ; 

'Venders  of  European  Art,  pp.  80-3. 


334-5;    Hist.   Our  Lord,  Vol.    i,   pp. 

106-7. 
Heaton,    Hist.     Painting,    pp.    353-6 ; 

Flemish  Art,  pp.  75-9. 
KoEHLER,  Hist,  Art,  pi.  223. 


7.     Hans  Holbein,  the  Younger,  the  complement  of 
Albert  Durer  (i 497-1 543);  his  life  at  Basle  and  London. 


WoRNUM,  Epochs  of  Painting,  pp.  492-4.        Viardot,     Hist.     Painters,    pp.     237-8; 


KUGLER,  German,  Flemish  and  Dutch 
Schools,  Vol.  I,  pp.  198-201,  208-9, 
212-6. 

LtJEBKE,  Hist.  Art,  Vol.  2,  pp.  490-1; 
Mon.  Art,  Vol.  2,  PI.  84,  Text  p.  245. 

Tyti.er,  Old  Masters,  pp.  309 — 18. 


Wonders  of  European  Art,  pp.  76-7. 
Heaton,    Hist.    Painting,     pp.     346-7, 

349-50;  Flemish  Art,  pp.  69-75. 
WoLTMANN,    Holbein,    pp.    60-9,    87-9, 

104-5,  1 10-2, 297-306,  322-32,  38S-91 

439-40-  451-61- 


8.  Holbein's  pictures  of  Bible  subjects;  the  votive 
Madonna  of  Burgomaster  Meyer;  Meeting  of  Saul  and 
Samuel;  Crucifixion;  Christen  the  Mount  of  Olives. 


KUGLER,  German,  Flemish  and  Dutch 
Schools,  Vol.  I,  pp.  202-7,  216. 

LuEBKE,  Hist.  Art,  Vol.  2,  pp.  491 -6; 
Mon.  Art,  Vol.  2,  pi.  84,  text  pp.  245-6. 

KoEHi.ER,  Hist.  Art,  pi.  223. 

VlAROOT,  Hist.  Painters,  pp.  237-8 ; 
Wonders  of  European  Art,  pp.  77-8. 


Tytler,  Old  Masters,  pp.  319-21. 
Heaton,     Hist.    Painting,    pp.    348-9 . 

Flemish  Art,  p.  74. 
Jameson,  Legends  of  the  Madonna,  pp. 

102-3. 
Woltmann,  Holbein,  pp.  31-7,  89-105, 

123-6,  127-30,   132-7,  141-59- 


HISTORY  OF  PAINTING,  iii 

9.  Holbein  as  a  portrait  painter;  portraits  of  Eras- 
mus; Sir  Thomas  Moore;  Archbishop  Warham;  Martin 
Luther;  Wife  of  Martin  Luther;  Ulrich  ZwingH;  Henry 
VIII.;  Henry  VIII.  granting  a  Charter  to  the  Barber 
Surgeons  (the  last  work  of  the  master.) 


KuGLER,    German,   Flemish   and  Dutch  Luebkk,  Hist.   Art,  Vol.   2,   pp.  496-9; 

Schools,     Vol.     I,    pp.    204-5,    2078,  Mon.  Art,  Vol.  2,  pi.  84,  text  p.  246. 

209-12.  Heaton,  Hist.  Painting,  pp.  350-1. 

ViARDOT,    Hist.    Painters,    pp.   238-40;  Wolt.mann,  Holbein,  pp.  69-81,  11 3-7, 

Wonders  of  European  Art,  pp.  76-7,  79.  176-90,  196-7,  309-22,  332-4,339-44, 

Tytler,  Old  Masters,  pp.  323-30.  359-60,  391-405,  422-6,  432-8,  441-8. 

Wai.FORD,  Old  and  New  London, Vol.  2,  Bi-ANC,    Gram.     Painting,      pp.     234-5, 

PP-  233-4-  262-9. 


10.  Holbein  as  a  master  of  Engraving;  Triumph  of 
Riches;  Triumph  of  Poverty;  Dance  of  Death,  a  favorite 
subject  of  his  time. 


WoRNUM,  Holbein,  pp.  180  8.  Tytler,  Old  Masters,  pp.  321-3,  330-3. 

Douce,  Dance  of  Death,  Bohn  ed.  Viardot,  Hist.  Painters,  pp.  240-1. 

Kl'GLER,    German,   Flemish  and   Dutch  Heaton,  Hist.  Painting,  p.  351. 

Schools,  Vol.  I,  pp.  212  3,  217-8.  Woi.TMANN,  Holbein,  pp.  130-3,  137-40, 

LUEBKE,  Hist.  Art,  Vol.  2,  pp.  499-500;  190  6,  204-32,  236-^4,  245-86,  348-56, 

Mon.    Art,    Vol.    2,    pi.    84,   text   pp.  373  87. 

245-6.  Kmcht,  London,  Vol.  6,  pp.  240  i. 


HISTORY  OF  PAINTING. 


XVII.— LATER  PAINTERS  OF  GERMANY. 


[180O-1850   A.    D.] 


I .  Peter  von  Cornelius,  the  representative  of  modern 
German  idealism,  (i  784-1 867);  colossal  frescoes  in  the 
Glyptothek,  the  Pinakothek  and  the  church  of  St.  Ludwig, 
Munich;  Four  Riders  of  the  Apocalypse  in  the  Royal 
Mausoleum,  Berlin. 


LUEBKE,    Hist.    Art,  Vol.  2,  pp.   616-7;  Tytler,  Mod.  Painters,  pp.   198-202. 

Mon.   Art,   Vol.   2,   pis.   106,  119,  text  Clement,  Artists  19th  Cent.,  Vol.  i,  pp. 

PP-  293,  315-  156-8. 

ViARDOT,  Hist.  Painters,  pp.  266.  RossETTi,  Fine  Art,  pp.  122-3. 
Jameson,  Sketches  of  Art,  pp.  197-200. 


2.  Fri^drich  Overbeck,  the  chief  of  the  revivalists 
of  German  art  (i  789-1 869);  Triumph  of  Religion  in  the 
Arts,  in  the  Stadel  Institute,  Frankfort;  Entrance  of 
Christ  into  Jerusalem,  in  Lubeck;  fresco  of  the  Vision  of 
St.  Francis,  in  the  Church  of  St.  Agnes,  Assisi. 


Luebke,    Hist.    Art,    Vol.    2,    p.   614-5;  Tytler,  Mod.  Painters,  pp.  196-8. 

Mon.  Art,  Vol.   2,  pis.    106,    119,   text  Clement,  Artists  19th  Cent.,  Vol.  2,  pp. 

pp.  293,  315.  157-9. 

V'lARDOT,    Hist.    Painters,     pp.     265-6. 


HISTORY  OF  PAINTING. 


"3 


3.  Wilhelm  von  Kaulbach,  painter  of  classic  and 
historic  allegory  (i  805-1 874);  frescoes  in  the  New 
Museum,  Berlin;  Apollo  and  the  Muses  in  the  Odeon, 
Munich;  the  new  method  of  Stereochrome  or  Water- 
Glass. 


LuEBKE,    Hist.   Art,   Vol.  2,  pp.  618-9;       Viardot,  Hist.  Painters,  pp.  267-8. 


Mon.    Art,   Vol.   2,  pi.    125,    text  pp. 

323-4- 
Clement,  Artists,  19th Cent,  Vol.  2,  pp. 
19-20. 


Benjamin,  Contemporary  Art,  in  Europe, 

pp.  1 15-7. 
RossETTi,  Fine  Art,  p.  123. 
O'Driscoll,  Maclise,  app.  (Water-glass.) 


XVIII.— THE  GREAT  PAINTERS  OF  SPAIN. 


VELASOUKZ  AND  MURILLO. 


[160O-I680    A.     I).] 


I.     Limits  of  Moorish  art;  influence  of  the  Inquisition 
on  painting-  in  Spain. 


Stothert,  French  and  Spanish  Painters,  Jarves,    Art    Hints,    pp.    272-4,    275-6; 

pp.  2-4.  Art  Thoughts,  pp.  177-8. 

Hkaton,     Hist.     Painting,     pp.     268-9,  LuEHKK,  Hist.  Art,  Vol.  2.  pp.  533-4. 

272-3.  .Stir'c.Ma.XWKi.i.,  ArtistsofSpain(ed.'9i) 


114 


HISTORY  OF  PAINTING. 


2.     The  early  history  of  painting  in  Spain;  the  four 
schools:  Castile,  Andalusia,  Valencia  and  Aragon. 


LUEBKE,  Hist.  Art,  Vol.  2,  pp.  533-4. 
VlARDor,    Hist.     Painters,    pp.     192-4. 

Wonders  of  European  Art,  pp.  1-6. 
Stothert,  French  and  Spanish  Painters, 

pp.  1-2,  4-7. 


Heaton,    Hist.    Painting,    pp.    269-72, 

277-9. 
Jarves,   Art  Hints,   pp.    269-74,  276-7; 

Art  Thoughts,  pp.  178-9. 
Knight,  Pict.  Gal.  Arts,  Vol.  2,  p.  386. 


3.  Some  of  the  early  masters  in  Spain;  Luis  de 
Morales  (i 509-1 586);  Francisco  de  Herrera  (1576— 1656); 
Francisco  Zurbaran  (i  598-1 662). 


Gerard   Smith,    French    and    Spanish      Baxley,  Spain,  Vol.  2,  pp.  38-55. 


Painters,  pp.  24,  50,  54. 
LuEBKE,   Hist.  Art,  Vol.   2,  pp.   534-5; 

Mon.  Art,  Vol.  2,  pi.  97,  text  p.  277. 
VlARDOT,     Hist.    Painters,    pp.    202-3; 

Wonders  of  European  Art,  pp.  23-5. 


Hkaton,      Hist.     Painting,     pp,     284-5, 

289  91. 
Stothert,  French  and  Spanish  Painters, 

PP-  34-7. 
Stir'g  Maxwell,  Artists  of  Spain  (ed.'Qi) 


4.  Josef  de  Ribera  (II  Spagnoletto),  the  Spaniard 
in  Italy  (1585-1609);  Deposition  from  the  Cross;  Com- 
munion of  the  Apostles;  Martyrdom  of  St.  Bartholomew. 


LuEBKE,   Hist.  Art,  Vol.  2,  p.  523;  Mon. 

Art,  Vol.  2,  pi.  94,  text  p.  272. 
Knight,  Pict.  Gal.   Arts,   Vol.   2,  II.  p. 

380. 
Viardot,     Hist.     Painters,     pp.     196-8  ; 

Wonders  of  European  Art.  pp.  9-17. 


Koehler,  Hist.  Art,  PI.  241.    ■ 

Baxley,  Spain,  Vol.  2,  pp.  323-9. 

Stothert,  French  and  Spanish  Paint- 
ers, pp.  23-5. 

Jameson,  Hist.  Our  Lord,  Vol.  i,  p. 
279. 


HISTORY  OF  PAINTING. 


"5 


5.  Diego  Velasquez,  the  greatest  master  of  the 
school  of  Castile  (i 599-1669);  his  life,  character  and 
style. 


LUEBKE,  Hist.  Art,  Vol.  2,  p.  535. 
Knight,  Pic.  Gal.   Arts,  Vol.  2,  text  p. 

387. 

VlARDOT,  Hist.  Painters,  pp.  220-2  ; 
Wonders  of  European  Art,  pp.  50-5, 
68  9. 

Stothert,  French  and  Spanish  Paint- 
ers, pp.  37-41,  50-1.  54. 

WoRNUM,  Epochs  of  Painting,  pp.  387-9. 


Heaton,     Hist.     Painting,     pp.     291-5, 

297-9. 
JARVE.S,  Art  Thoughts,  p.  179;  Art  Hint^ 

p.  278. 
Baxley,    Spain,     Vol.     2,     pp.     296-7, 

316-7,  322. 
SHEDD,  Famous  Painters,  pp.  162-4. 
Tyti.er,  Old  Masters,  pp.  260-7,  269-75. 
Stir'g  Maxwell,  Artists  of  Spain  (ed.  '91) 


6.  Characteristic  works  of  Velasquez:  Spinners; 
Forge  of  Vulcan;  Surrender  of  Breda;  Drinkers;  Maids 
of  Honor  (the  "Meninas");  Water  Carrier;  Boar  Hunt  in 
the  National  Gallery,  London;  the  Forge  of  Vulcan. 


Luebke,  Hist.  Art,  Vol.  2,  pp.  525-6. 
VlARDOT,    Hist.     Painters,    pp.     223-6 ; 
Wonders  of  European  Art,  pp.  59  67. 
Heaton,  Hist.  Painting,  pp.  295-6 
Tytler,  Old  Masters,  pp.  271-2,  278  80. 


Stothkrt,    French    and   Spanish   Paint 

ers,  pp.  43,  46-8,  51-4. 
Baxley,  Spain,  Vol.  2,  pp.  306-12. 
KoEHi.ER,  Hist.  Art,  PI.  241. 
.Stirllng,  Velasquez  and  his  works. 


7.     Velasquez'     religious     pictures,     especially     his 
Crucifixion. 


Jameson,  Legends  of  the  Madonna,  pp. 
23-4,  49;  Hist.  Our  Lord,  Vol.  2,  pp. 
82,  205-6. 

VlARDOT,  Hist.  Painters,  p.  223;  Won- 
ders of  European  Art,  p]).  $&  <). 

Tytler,  Old.  Masters,  pp.   267-8. 


Stothert,  French  and  Spanish  Painter^ 

p.  44. 
Baxley,  Spain,  Vol.  2,  pp.  295-6,  3i2-(' 
Taine,  Florence  and  Venice,  j).  360. 
KoEiiLER,  Hist.  Art,  pi.  242. 


II6 


HISTORY  OF  PAINTING. 


8.  Velasquez  as  a  portrait  painter;  portrait  of  his 
Wife;  portraits  and  portrait  groups  of  the  King,  Philip 
IV;  Ferdinand  de  Medici  and  his  Consort;  Menippus; 
^sop;  Pope  Innocent  X.;  the  Laughing  Idiot;  the 
Laughing  Peasant  Boy. 


LuEBKE,  Mon.  Art,  Vol.  2,  pi.  97,  text 
p.  277. 

VlARDOT,  Hist.  Painters,  pp.  222-3;  Won- 
ders of  European  Art,  pp.  56-8. 

Heaton,    Hist.     Painting,     pp.    294-5. 


Stothert,  French  and  Spanish  Painters, 

PP-  41-3.  48-50. 
Baxley,  Spain,  Vol.  2,  pp.  297-305. 
Tytler,  Old  Masters,  pp.  268-9,  275-8. 
KoEHLER,  Hist.  Art,  pis.  241-5. 


9.  Bartolome  Esteban  Murillo,  the  great  master  of 
the  Andalusian  school  (1618-1682);  his  life,  character  and 
style. 


Blanc,  Painters  of  All  Nations,  Eng.  ed., 

pp.  1-16. 
WoRNUM,  Epochs  of  Painting,  pp.  390-3. 
LuEBKE,  Hist.   Art,   Vol.    2,   pp.   536-9. 
Knight,  Pict.  Gal.  Arts.  Vol.  2,  text  p. 

387. 
ViARDOT,     Hist.     Painters,    pp.      204-6; 

Wonders  of  European  Art,  pp.    25-9. 
SWEETSER,  Murillo,  pp.  7-21,  30-6,  41-3, 

55-7,62-7,95-111. 
Tytlep,  Old  Masters,  pp.  280-4. 


Heaton,     Hist.    Painting,  pp.  299-303, 

305-6. 
Stothert,  French  and  Spanish  Painters, 

pp.  55-60. 
Baxley,   Spain,  Vol.  2,  pp.  26,  278-80, 

284. 
Jarves,    Art    Hints,     pp.      280-1;     Art 

Thoughts,  pp.  177-9. 
Shedd,  P'amous  Painters,  pp.  192-5. 
Hall,   Gems  of  European  Art,  Vol.  i, 

pp.  31-6. 


10.  Murillo's  religious  pictures;  St.  Anthony  of 
Padua;  St.  Elizabeth  of  Hungary;  St.  Francis  and  the 
Paralytic;  Prodigal  Son;  Apotheosis  of  the  Virgin; 
Madonna  pictures,  etc. 


HISTORY  OF  PAINTING. 


sijr 


LUEBKE,  Hist.  Art,  Vol.  2,  pp.  539-40; 

Mon.    Art,   Vol.  2,    pi.   97,    text  pp. 

277-8. 
Knight,    Pict.    Gal.   Arts,  Vol.    2,   II. 

p.  381- 
Jameson,   Hist.   Our  Lord,  Vol.   i,  pp. 

368-9;  Vol.  2,  pp.  380-1;  Legends  of 

the  Madonna,  pp.  36,  46-7,  49-50, 120; 

Sacred  Art,  Vol.   i,  pp.   127-8,  312-3, 

361-2;  Vol.  2,  pp.  676-7. 
VlARDOT,    Hist.    Painters,   pp.    206-11; 

Wonders  of  European  Art,  pp.  29-42. 


SWEETSER,  Murillo,  pp.  38-41,  70-7,  80- 

5,  88-91,  94. 
Heaton,    Hist.    Painting,    pp.   303-4. 
Stothert,  French  and  Spanish  Painters, 

pp.  58-9,  61. 
Baxley,  Spain,  Vol.  2,  pp.  11^6,  30-I, 

33-6,  274-7,  280-4,  285-94. 
Taine,  Rome  and  Naples,  p.  163. 
Tytler,  Old  Masters,  pp.  284-5. 
Shedd,  Famous  Painters,  p.  194. 
KoEHLER,  Hist.  Art,  pi.  242. 
Hall,  Gems  of  European  Art,  pi.  4. 


II.     Murillo's  pictures  of  beggar  children:    Playing 
at  Dice  J  Eating  Grapes;  Counting  Money,  Beggar  Boy,  etc. 


I  JEBKE,  Mon.   Art,  Vol.   2,   pi.  97,  text 

p.  277. 
Knight,  Pict.  Gal.  Arts,  II.  p.  381. 
Viardot,  Hist.  Painters,  p.  211. 
SwEETSER,  Murillo,  pp.  105-8. 


Jarves,  Art  Hints,  pp.  281-2. 
Tytler,  Old  Masters,  p.  285. 
KoehLer,  Hist.  Art,  pis.  241-2. 
Ham.,    Gems    of     European    Art,    pp. 
29-30. 


li8 


HISTORY  OF  PAINTING. 


XIX.— THE  PRINCIPAL  FRENCH  PAINTERS, 


THE  EARLY  PERIOD. 


[1600-1700   A,    IX] 


I.     General  outline  of  the  early   history   of  art  in 
France;  architecture,  book  illumination  and  glass  painting. 


Knight,  Pict.   Gal.    Arts,  Vol.    2,   text 

P-  395- 
Stephens,  Flemish  and  French  Pictures, 

pp.  181-94. 
Gerard  Smith,   Spanish    and    French 

Painters,  pp.  93-100. 


LUEBKE,  Hist.  Art,  Vol.  2,  p.  577. 
Viardot,    Hist.    Painters,    pp.   369-72 ; 

Wonders  of  European  Art,  pp  232-41. 
Stothert,  French  and  Spanish  Painters, 

pp.  7S-IOO. 


2.  Nicolas  Poussin,  the  first  great  master  of  painting 
in  France  (1593-1665);  his  Roman  training;  personal 
characteristics. 


Luebke,    Hist.  Art,  Vol.  2,    pp.  562-3, 

577- 

Viardot,  Hist.  Painters,  pp.  372-3; 
Wonders  of  European  Art,  pp.  241-3, 
249. 

Heaton,  Hist.  Painting,  pp.  262-3. 

Stothert,  French  and  Spanish  Paint- 
ers, pp.  100-4. 

Shedd,  Famous  Painters,  pp.  159-60. 

Tytler,  Old  Masters,  pp.  286-92. 

5:-tranaiiai<%  Hist.  French  Painting,  pp. 
35-4^- 


Jar\'1ES,  Art  Thoughts,  pp.  233-5;  ^^ 
Studies,  p.  127. 

RusKiN,  Mod.  Painters,  Vol.  3,  p.  330 ; 
Vol.  5,  pp.  261-3. 

Dohme,  Early  Masters,  pp.  486-507, 
509-10. 

Eclectic  Magazine,  March  1853, "Nico- 
las Poussin." 

Reynolds,  Discourses  on  Art,  Vol,    J, 

PP,  357,  445- 
Gerard    Smith,   Spanish  and    French 
Painters,  pp.   II 5-22. 


HISTORY  OF  PAINTING.  119 

3.     Poussin's  Study  and  use  of  the  landscape;  Shep- 
herds of  Arcadia;  Scene  near  Athens;   Heroic  landscapes. 


VlARDOT,   Hist.   Painters,  p.   375;  Won-  Dohme,  Early  Masters,  pp.  508-9. 

ders  of  European  Art,  p.  246,  Koehler,  Hist.  Art,  pi.  244. 

RusKiN,  Mod.  Painters,  Vol.  i,  p.  88.  Hai.i.,  Gems  of  European  Art,  Vol.  i,  pi. 
Blanc,  Gram,  of  Painting,  pp.  23-4.  23,  pp.  81-2. 

Taine,  Rome  and  Naples,  pp.  197,222-3.  Tytler,  Old  Masters,  pp.  292-6. 


4.  Poussin's  religious  pictures;  Ecstasy  of  St.  Paul; 
sacred  allegories  of  the  Four  Seasons,  viz:  Adam  and 
Eve  in  Paradise,  Ruth  Gleaning,  Return  of  the  Spies  and 
the  Deluge;  Moses  at  the  Well. 


LuEBKE,  Men.  Art,  Vol.  2,   pi.  98,  text  Viardot,    Hist.     Painters,     pp.    373-5; 

pp.  278-9.  Wonders  of  European  Art,  pp.  244-5. 

Knight,   Pict.  Gal.    Arts,  Vol.   2,   II.  p.  Stothert,  French  and  Spanish  Painters, 

377.  p.  104. 

Jameson,  Works,  see  Index  "  Poussin."  Dohme,  Early  Masters,  pp.  507-8. 


5.     Poussin's  historical  pictures;  Rape  of  the  Sabines; 
Will  of  Eudamidas;  Death  of  Germanicus. 


Viardot,    Wonders    of   European  Art,       Bi.anc,  Grammar  of  Painting,  p.  43. 
p.  245,  Dohme,  Early  Masters,  p.  508. 


6.  Poussin's  mythological  and  allegorical  pictures; 
Triumph  of  Flora;  Triumph  of  Neptune;  Death  of  Eury- 
dice;  Triumph  of  Truth. 


HISTORY  OF  PAINTING. 


LUEBKE,  Mon.  Art,  Vol.  2,  PI.  loi,  text 

p.  285. 
VlARDOT,   Wonders    of    European    Art, 

pp.  245-6- 


RusKiN,  Mod.  Painters,  Vol   3,  p.  330. 
DoiiME,  Early  Masters,  p.  508. 
KoEHLER,  Hist.  Art,  PI.  243. 


7.  Claude  Lorrain  [Gellee],  the  first  master  of 
landscape  proper  (i 600-1 682);  his  industrious  life  and 
faithful  study  of  nature  on  the  Campagna;  French  land- 
scape painting  in  general. 


Stranahan,  Hist.  French  Painting,  pp.       Tytler,  Old  Masters,  pp.  296-8. 


42-46;  229-32. 
LuEBKE,  Hist.  Art,  Vol.  2,  pp.  578-9. 
Knight,  Pict.  Gal.  Arts,  Vol.  2,  text  p, 

383. 
Heaton,  Hist.  Painting,  pp.  263-4. 
ViARDOT,    Hist.    Painters,    pp.    375-6 ; 

Wonders  of  European  Art,  pp.  249-50. 


Strothert,  French  and  Spanish  Paint- 
ers, pp.  105-6. 

Sweetser,  Lorrain,  pp.  7-44,  66-74. 
91-100,  107-12,  119-34,  137-40. 

Cassell,  Art  Treasures,  pp.  384-7. 

Jarves,  Art  Studies,  pp.  236-7. 


8.  Select  examples  of  Lorrain's  landscape  painting: 
Mill  in  the  Doria  Palace,  Rome;  Marriage  of  Isaac  and 
Rebecca;  Worship  of  the  Golden  Calf;  Hagar  in  the 
Desert;  Noon;  Evening;  Study  of  Trees. 


LUEBKE,  Mon.  Art,  Vol.  2,  pi,  loi,  text 

p.  285. 
ViARDOT,    Hist.    Painters,    pp.   376-8 ; 

Wonders  of  European  Art,   pp.   250-6. 
KoEHLER,  Hist,  Art,  pi.  243. 
Tytler,  Old  Masters,  pp.  298-303. 
Lanzi,  Hist.  Painting,  Vol.  2,  pp.  247-8. 
Hare,  Walks  in  Rome,  p.  52. 


SwEETSER,    Lorrain,   pp.    44-52,     74-5, 

78-81,  83-6,  100-6. 
RusKiN,   Mod.  Painters,  Vol.  i,  preface, 

pp.  38-40,  pp.  191-2,  205-6,  274-7 ; 

Vol.  5,  pp.  258-61. 
Cassell,  Art  Treasures,  pp.  387-96. 
Hall,   Gems  of  European  Art,  Vol.  2, 

pi.  26,  pp.  67-8. 


HISTORY  OF  PAINTING.  121 

9.  Select  examples  of  Lorrain's  marine  pieces; 
Embarkation  of  the  Queen  of  Sheba;  Landing  of  Cleopa- 
tra; Seaport  at  Sunset;  Morning. 

ViARDOT,    Hist.    Painters,    pp.    375-8  ;       Sweetser,   Lorrain,  pp.  75,  81-3,  86-8, 

Wonders  of  European  Art,  pp.  253-4.  I34-7- 

RusKiN,  Mod.  Painters,  Vol.  5,  p.  259.  Cassell,  Art  Treasures,  pp.  393-4. 

10.  Charles  Lebrun,  first  President  of  the  Royal 
Academy  of  France  (i  619-1690);  his  peculiar  theory  and 
style;  series  of  paintings  of  the  Battles  of  Alexander;  the 
Family  of  Darius  at  the  Feet  of  Alexander. 


Stranahan,  Hist.  French  Painting,  pp.  Heaton,  Hist.  Painting,  pp.  473-4. 

47-52.  Stephens,  Flemish  and  French  Pictures, 

i^UEBKE,  Hist.  Art,  Vol.  2,  p.  563;  Mon.  pp.  196  7. 

Art,  Vol.  2,  pi.  98,  text  p.  279.  Stotheri',  French  and  Spanish  Painters, 

Jameson,  Works,  see  Index,  "  Lebrun,"  pp.  91-5. 

Knight,  Pict.    Gal.    Arts,   Vol.   2,    text  Dohmk,  Early  Masters,  pp.  511-26. 

p.  395.  KoEHi.KR,  Hist.  Art,  pi.  243. 

Viardot,    Hist.    Painters,    pp.    379-80  ;  Tytler,  Old  Masters,  pp.  303-5. 

Wonders  of  European  Art,  pp.  261-3. 

II.  Eustache  Lesueur,  painter  of  Scenes  from  mon- 
astic life  (1617-1655);  History  of  St.  Bruno;  Vision  of 
St.  Bernard;  Preaching  of  St.  Paul  at  Ephesus;  Descent 
from  the  Cross. 

Stranahan,  Hist   P'rench  Painting,  pp.  Knight,  Pict.  Gal.  Arts,  Vol.  2,  Text  p. 

48-9,  52-7.  395- 

Llehke,  Hist.  Art,  Vol.  2,  p.  563;  Mon.  Viakoot,     Hist.     Painters,    jip.    378-9; 

Art,  Vol.  2,  PI.   98,  Text  p.  279.  Wonders  of  European  Art,  pp.  258-60 

Jameson,  Works,  see  Index,  "Lesueur."  Hkatun,  Hist.  Painting,  p.  473. 


HISTORY  OF  PAINTING. 


Stothert,  French  and  Spanish  Painters, 

pp.  87-91. 
Jarves,  Art  Thoughts,  pp.  233,  235-6. 
Stephens,  Flemish  and  French  Pictures, 

p.  197. 


DoHME,  Early  Masters,  pp.  513-4, 
Bi-ANC,    Grammar  of  painting,    pp.    43, 

60-1. 
KoEHLER,  Hist.  Art,  PI.  242. 


XX.— THE  PRINCIPAL  FRENCH  PAINTERS. 


LATER  PERIOD. 

[1700-1850   A.    D.] 

I.  French  Painting  in  the  eighteenth  centu»*y. 
Antoine  Watteau,  painter  of  fashionable  Hfe  (1684-1721); 
Embarkation  for  the  Island  of  Cytheria;  Fete  Champ^tre, 
in  the  Dulwich  gallery;  Elysian  Fields. 


Stranahan,  Hist.  French  Painting,  pp. 
73-89;  90-6. 

LUEBKK,  Hist.  Art,  Vol.  2,  p.  574. 

Viaroot,  Hist.  Painters,  p.  282;  Won- 
ders of  European  Art,  pp.  267-8. 

Stothert,  French  and  Spanish  Painters, 
pp.  1 10-4. 


Heaton,  Hist.  Painting,  pp.  474-5. 
Shedd,  Famous  Painters,  pp.  215-6. 
Tyti.er,  Old  Masters,  pp.  305-7. 
Koehi.er,  Hist.  Art,  pi.  243. 
Hai.i.,    Gems   of  European  Art,  Vol. 
pi.   I. 


2.     Claude  Joseph  Vernet,  the  best  marine  painter  of 
the  French  School  (i  714-1789);  Seaports  of  France,  Nos. 


HISTORY  OF  PAINTING. 


123 


596  and  615  in  the  Louvre;    View  of  St.  Angelo,  Rome, 
in  the  National  gallery. 

Stranahan,  Hist.  French  Painting,  pp.  Viardot,  Hist.  Painters,  p.  384;  Won- 

109-11.  ders  of  European  Art,  pp.  271-2. 

Blanc,  Painters  of  All  Nations,  pp.  97-  Stothert,  French  and  Spanish  Painters, 

no.  pp.  134-8. 

LUEBKE,  Hist.  Art,  Vol.  2,  p.  580.  Heaton,  Hist.  Painting,  p.  477. 

3.  Jean  Baptiste  Greuze,  painter  of  domestic  and 
rural  life  (i 726-1805);  the  Paralytic  with  his  Children; 
the  Son's  Punishment;  the  Children's  Welcome  to  the 
Returning  Nurse;  Broken  Pitcher;  Village  Bride;  Paternal 

Curse. 

Francois  Boucher;  his  style  the  most  perfect  embodi- 
ment of  French  taste  in  the  eighteenth  century  (1703-70); 
the  Feast  of  the  Gods;  Birth  and  Death  of  Adonis;  the 
Forge  of  Vulcan. 


Stra.nahan,   Hist.  French  Painting,  pp. 

1 14-18  (Greuze);  102-5  (Boucher). 
LuEBKE,  Hist.  Art,  Vol.  2,  p.  574. 
Viardot,  Hist.    Painters,    pp.  383,  385, 

Wonders  of  European  Art,  pp.  272-4. 
TVTl-ER,  Old  Masters,  pp.  307-8. 


Strothert,  French  and  Spanbh  Paint- 
ers, pp.  119-23. 

KoEHi.ER,  Hist.  Art,  pi.  244. 

American  Art  Review,  1880,  p.  313. 

Blanc,  Painters  of  All  Nations,  pp.  81- 
94  (Boucher),  65-78  (Valentin). 


4.  Jacques  Louis  David  (i  749-1825);  revival  of 
the  classic  style  in  painting;  Oath  of  the  Horatii;  Leoni- 
das  at  Thermopylae;  Sabine  Women;  Death  of  Socrates; 
Assassination  of  Lepelletier;  Crowning  of  Napoleon  and 
Josephine;  portrait  of  Pope  Pius  VIL 


124 


HISTORY  OF  TAINTING. 


Stranahan,  Hist.  French  Painting,  pp.  Stotiiert,  French   aud   Spanish   Paint- 

138-48.  ers,  pp.  126-34. 

Li'EBKE,  Hist.  Art,  Vol.   2,  pp.  612-3  5  Heaton,  Hist.  Painting,  pp.  477-81. 

Mon.  Art.  Vol.  2,  pi.  104,  text  p.  291.  Tyti.er,  Mod.  Painters,  pp.  157-60. 

ViARDOT,    Hist.     Painters,    pp.    386-7 ;  Knight,  Pic.   Gal.   Arts,   Vol.   2,   II.  p. 

Wonders  of  European   Art,   pp.   275-  393,  text  p.  395. 

82.  Stephens,  French  and  Flemish  Pictures, 

Koehler,  Hist.  Art,  PI.  246.  p.  216. 

5.  Pierre  Paul  Prud'hon,  master  of  the  graceful 
style  of  his  time  (i  758-1 823);  Justice  and  Divine  Venge- 
ance Pursuing  Crime;  Assumption  of  the  Virgin  and  the 
Dying  Christ,  in  the  Louvre. 

Stranahan,  Hist.  French  Painting,  pp.  Stothert,  French  and  Spanish  Painters, 

150-4.  pp,  154-8. 

Viardot,    Hist.    Painters,    pp.    389-90;  Stephens,  Flemish  and  French  Pictures, 

Wonders  of  European  Art,  pp.  286-90.  pp.  217-22. 

6.  Gros  and  Ingres,  the  greatest  pupils  of  David: 
Antoine  Jean  Gros  (1771-1835);  the  Pest  at  Jaffa;  the 
Field  of  Eylau;  Aboukir. 

Jean  Auguste  Dominique  Ingres  (i  781 -1867);  Fran- 
cisca  de  Rimini;  Stratonice;  La  Source;  Apotheosis  of 
Homer,  in  the  Louvre;  Henry  IV.,  Playing  with  his 
Children. 


Stranahan,  Hist.  French  Painting,  pp. 

161-67  (Gros.);  166-71  (Ingres.) 
Ll'ebke,    Hist.    Art,  Vol.  2,  pp.  612-3; 

Mon.   Art,   Vol.    2,    pi.   129,  text   pp. 

331-2. 
Viardot,    Hist.    Painters,    pp.     388-9, 

391-2;  Wonders  of  European  Art,  pp. 

^97-8. 
Tyti.er,  Mod.  Painters,  pp.  161-5. 


RossETTi,  Fine  Art,  pp.  102-4. 

Clement,  Artists,  19th Cent.,  Vol.  i.  pp, 
379-82. 

S  rOTHER  r,  French  and  Spanish  Painters, 
pp    196-200. 

Stephens,  Flemish  and  French  Pictures, 
pp.  246-8. 

Hamerton,  Contemporary  French  Paint- 
ers, pp.  14-18. 


nISTORY  OF  PAINTING. 


"5 


7.     Emile  Jean  Horace  Vernet,  the   battle  painter 
of  three  wars  (1789-1863);  Battle    of  Fontenoy;    Battle 
of  Montmirail ;  Defence  of  the  Barrier  of  Clichy;  Battle 
of  the  Alma;  Taking  of  Warsaw. 


Stranahan,  Hist.  French  Painting,  pp. 

176-82. 
LuEBKE,    Hist.   Art,  Vol.  2,  pp.  629-30; 

Mon.   Art,  Vol.   2,   pi.    129,   text   pp. 

333-4- 

ViARDor,  Hist.  Painters,  p.  392;  Won- 
ders of  European  Art,  pp.  29S-301. 

Tytler,  Mod.  Painters,  pp.   166-70. 

Clkment,  Artists  19th  Cent.,  Vol.  2,  pp. 
316-20. 


RossETTi,  Fine  Art,  pp.  104-5. 
Stothebt,  French  and  Spanish  Painters, 

pp.  161-6. 
.Stephens,  Flemish  and  French  Pictures, 

pp.  241-6. 
Rees,  Vcrnct,  pp.  I -52. 
WoRNUM,  Epochs  of  Painting,  pp.  488-90. 
Hamerton,  Contemporary  Painters,  pp. 

29-33- 


8.  Jean  Louis  Theodore  Andre  Gericault,  the  oppo- 
nent of  the  classicists  and  the  first  of  the  Romantic  School 
(1790- 1 824);  Raft  of  the  Medusa;  Hunter  Wounded; 
Derby  d'Epsom. 


LuEBKE,  Hist.  Art,  Vol.  2,  p.  628.  Tytler,  Mod.  Painters,  pp.  165-6. 

Viardot,  Hist.  Painters,  p.  391;  Won-  Stephens,  Flemish  and  P'rench  Pictures, 

ders  of  European  Art,  pp.  2go  2.  pp.  224-6. 

Stdthert,  P'rcnch  and  Spanish  Painters,  Stranahan,  Hist.  French  Painting;  see 

pp.  150  4.  Index. 


9.  Eugene  Delacroix,  the  greatest  of  the  Romantic 
School  (1799-1863);  Dante  and  Virgil;  Tasso  in  a  Mad- 
house; Massacre  of  Scio;  the  Women  of  Algiers;  the 
Fanatics  of  Tangiers. 


t26 


HISTORY  OF  PAINTING. 


Stranahan,  Hist.  French  Painting,  pp. 
198-207. 

LuEBKK,  Hist.  Art,  Vol.  2,  p.  629;  Mod. 
Art.  Vol.  2,  pi.  130,  text  p.  335. 

VlARDOT,  Hist.  Painters,  p.  394;  Won- 
ders of  European  Art,  p.  298. 

RossETTi,  Fine  Art,  pp.  108-11. 


Clement,  Artists  19th  Cent.,  Vol.  1,  pp. 

194-6. 
Stothert,  French  and  Spanish  Painters, 

pp.  182-92. 
Stephens,  Flemish  and  French  Pictures, 

pp.  233-6. 


10,  Ary  Scheffer  (i  795-1 858);  St.  Augustine  and 
his  Mother;  Magdalene;  Dante  and  Beatrice;  Christ  the 
Comforter;  Christ  the  Judge;  Temptation  of  Christ. 


Stranahan,  Hist.  French  Painting,  pp. 

209-13. 
Luebke,    Hist.    Art,    Vol.    2,    p.   628-9; 

Mon.    Art,    Vol.   2,  pi.    129,    text   pp. 

332-3- 
Clement,  Artists,  19th  Cent,  Vol.  2,  pp. 

237-9- 


Tytler,  Mod.  Painters,  pp.   178-90. 

Viardot,  Hist.  Painters,  p.  393;  Won- 
ders of  European  Art,  p.  298. 

Stephens,  Flemish  and  French  Pic- 
tures, pp.  232-3. 

Stothert,  French  and  Spanish  Painters, 
pp.  178-82. 


II.  Paul  Delaroche,  the  painter  of  recent  history 
( 1 797-1 856);  Assassination  of  the  Duke  of  Guise;  Execu- 
tion of  Lady  Jane  Grey;  Charles  I.  in  the  Guard  Room; 
Princes  in  the  Tower;  Death  of  Queen  Elizabeth;  the 
Hemicycle  series,  in  the  Academy  of  fine  Arts,  Paris. 


Stranahan,  Hist.  French  Painting,  pp. 
214-18. 

Lueeke,  Hist.  Art,  Vol.  2,  p.  630;  Mon. 
Art,  Vol.  2,  pis.  129-30,  text  pp.  334-5. 

Viardot,  Hist.  Painters,  p.  394;  Won- 
ders of  European  Art,  p.  301. 

Clement,  Artists,  19th  Cent.,  Vol.  i,  pp. 
197-8. 


Tytler,  Mod.  Painters,  pp.  170-7. 
Stother  r,  French  and  Spanish  Painters, 

pp.  167-83. 
Stephens,  Flemish  and  French  Pictures, 

pp.  228-32. 
Rees,  Vernet,  pp.  57-87,  and  analysis  of 

Hemicycle,  pp.  I-XXX. 


HISTORY  OF  PAINTING.  127 

1 2.  Louis  Leopold  Robert  ( 1 794-1 835) :  Reapers  in 
the  Pontine  Marshes;  Madonna  del  Arco;  Departure  of 
the  Fishermen. 


Stranahan,  Hist.  French  Painting,  pp.  Stothert,  French  and  Spanish  Painters, 

218-20.  pp.  173-8. 

Luf;bke,  Hist.  Art,  Vol.  2,  p.  630;  Mon.  Stephens,  Flemish  and  French  Pictures, 

Art,  Vol.  2,  pi.  129,  text  p.  333.  pp.  227-8. 

VlARDOT,    Hist.   Painters,  p.   393;  Won-  Hai.i.,  Gems  of  European  Art,  Vol.  i,  pi. 

ders  of  European  Art,  pp.  292-6.  3,  pp.  7-12. 


13.  Alexander  Gabriel  Decamps,  the  first  of  the 
Oriental  school  (1803 -i860);  Defeat  of  the  Cimbri; 
Watch-Guard  at  Smyrna;  Turkish  Guard- Room;  the 
Monkey  Experts. 


Stranaha.n,  Hist.   French  Painting,  pp.  Clement,    Artists,    19th    Cent.,   Vol.    i, 

222  8.  pp.  188-9. 

LuEHKE,  Hist.  Art,  Vol.  2,  p.  630;  Mon.  Stother;,  French  and  Spanish  Painters, 

Art,  Vol.  2,  pi.  130,  text  j)p.  335-6.  pp.  200  4. 

Viardot,    Hist.    Painters,  p.  395;  Won-  Stephens,  Flemish  and  French  Pictures, 

ders  of  European  .\rt,  p.  301.  pp.  237-41. 
RossETTi,  Fine -Art,  p    11 1. 


14.  Constant  Troyon,  animal  and  landscape  painter 
of  no  school  ( 1 810-1865);  Oxen  i^oing  to  Work;  Valley 
of  the  Toque;  Ferry  Boat. 

Jean  Baptiste  Camille  Corot,  the  greatest  landscape 
painter  of  the  modern  French  school  (i  796-1 875); 
Homer  and  the  Shepherds;  Democritus  among  the 
Abderites. 


128  HISTORY  OF  PAINTING. 

Pierre  Etienne  Theodore  Rousseau,  landscape  painter 
(1812-1867);  Descent  of  the  Cows  in  Autumn;  the  Alley 
of  Chestnut  Trees. 

Jean  Francois  Millet,  the  master  of  the  highest  senti- 
ment in  rustic  life  (1814-1875);  the  Sower;  the  Reaper; 
the  Gleaners;  the  Potato  Gatherers;  the  Angelus;  the 
Water-Carrier. 


Stranahan,  Hist.   French  Painting,  pp.  Tytler,  Mod.  Painters,  pp.  191-3. 

257-61  (Troyon);  234-40  (Corot);  242-8  Stothert,  French  and  Spanish  Painters, 

(Rousseau);  364-76  (Millet).  p.  221. 

Lui'.nKE,  Hist.  Art,  Vol.  2,  p.  632;  Mon.  Stephens,  French  and  Flemish  Pictures, 

Art,  Vol.  2,  pi.  135,  text  p.  344.  pp.  248-52. 

Viardot,  Hist.  Painters,  pp.  393-6.  Benjamin,  Contemporary  Art  in  Europe, 

Clement,  Artists,  19th  Cent.,  Vol.  i,  pp.  pp.  85-9,  90  i,  93-4. 

158—62;  Vol.  2,  pp.  117-20,  226,  301-2. 


XXI.    THE  PRINCIPAL  ENGLISH  PAINTERS. 


[17OO-1873    A.    1).] 

I.  The  early  history  of  painting-  in  England;  no 
native  school  but  considerable  demand  at  court  for  por- 
traits; foreign  artists,  Dutch,  Flemish,  Italian  and  French 
were  in  royal  service  from  Henry  VII.,  till  George  I.; 
among  the  many  were  Holbein,  Van  Dyke  and  Rubens, 
and  finally  Peter  Lely  and  Godfrey  Kneller  became 
kniofhted  citizens. 


HISTORY  OF  PAINTING. 


129 


WiLMOT-BuXTON,  English  Painters,  pp. 

1-35- 

Chesneait,  English  School  of  Painting, 

Eng.  ed.,  Introduction. 
Knight,  Pict.  Gal.  Arts,  Vol.  2,  text  pp. 

395.  398- 


Heaton,  Hist.  Painting,  pp.  490-5. 
ViARDOT,  Hist.  Painters,  pp.  397-402. 
Knight,   Hist.    England,    Vol.    5,    pp. 

461-3;  Vol.  7,  pp.  65-72. 
Reynolds,    Discourses   on   Art,  Vol.   1, 

Intro,  pp.  2-26. 


2.  William  Hogarth,  the  founder  of  the  Engli.sh 
School  and  master  of  satire  (i  697-1 764);  his  independent 
spirit  and  peculiar  style  of  painting. 


Chesneau,  English  School  of  Painting, 

Eng.  ed  ,  pp.  1-12,  319-20. 
Wii.Mt)T-BuxTON,    Eng.     Painters,     pp. 

36  40. 
"WoRMM,  Epochs  of  Painting,  pp.  507-9. 
LiEliKE,  Hist.  Art,  Vol.  2,  p.  574. 
Knight,  Pict.  Gal.  Arts,  Vol.   2,  tjxt  p. 

398- 
VlARDOT,  Hist.   Painters,  pp.  402  4. 
Cassei.i,,  Art  Treasures,  pp.  no  18,  127- 

34- 


Heaton,  Hist.  Painting,  pp.  495-500. 
Rossepti,  Fine  Art,  pp.  8-9,  146,  149. 
P.vrton,  Caricature,  pp.  133-46. 
Wright,  Hist.  Caricature,  pp.  434-5 
Trusler,    Hogarth's  Works,  Vol.    i,  pp. 

I-19. 
Long,  Art  Laws,  pp.  143-5. 
DoBsoN,    Hogarth,    pp.    7-18,   85-6,  93- 

109. 
Knight,     Hist.    England,    Vol.    5,    pp. 

463-6. 


3.  Hogarth's  several  series  of  works  illustrative  of 
the  evils  of  his  time;  Marriage  a  la  Mode;  Rake's  Pro- 
gress;  Idle  and  Industrious  Apprentice,  etc. 


Chesneat,  Eng    School  of  Painting,  ])p. 

12-20. 
Knight,    Pict.    (ial.    Arts,  Vol.  2,   11.    j). 

396- 
Viardot,  Hist.  Painters,  p.  404. 
Casski.!.,  Art  Trcnsures,  pp.  118  9,  126-7. 
WiLMor-BuxioN,  Eiig.  Painters. 


Trusi.er,   Hogarth's  Works,  Vol.    i,  pp. 

1-128;  Vol.  2,  pp.  133-47,  1(^8-75. 
Wkkihi',  Hist.  Caricature,  j)]).  435-40. 
l)'>i!S<>N,   Hogarth,   p]).    19-29,389,47- 

60,  65  7,  79  83,  91   3. 
Knight,    Hist.    England,   Vol.    5,    pp. 

470  2. 


I30 


HISTORY  OF  PAINTING. 


4.  Hogarth's  single  pieces;  March  of  the  Guards 
to  Finchley;  Enraged  Musician;  Sleeping  Congregation; 
Gin  Lane;  Beer  Street,  etc. 


LUEBKE,  Mon.  Art,  Vol.  2,  pi.  98,  text  p. 

280. 
Jameson,  Sacred  Art,  Vol.  i,  pp.  222-3. 
Knight,   Pict.   Gal.  Arts,  Vol.   2,  II.  p. 

396. 
VlARDOT,  Hist.  Painters,  p.  404. 
Cassell,  Art  Treasures,    II.   pp.    11 7-8, 

Text  pp.  119  23. 
Parton,  Caricature,  pp.  134,  138,  142-6. 
Hamerton,  Contemp.   French   Painters, 

pp.  45-8. 


Wright,  Hist.  Caricature,  pp.  440-5. 

Trusler,  Hogarth's  Works,  Vol.  i,  pp. 
129-32;  Vol.  2,  pp.  147-66,  175-201. 

DoBsoN,  Hogarth,  pp.  29-30,  42-6,  63-5, 
69-71,  85-90. 

Knight,  Hist.  England,  Vol.  5,  pp. 
468-70,  472-3. 

KoEHLER,  Hist.  Art,  pi.  245. 

Bicker's  ed.,  Examples  of  Modern  Brit- 
ish Art,  PI.  I. 

Wilmot-Bu.\ton,  Eng.  Painters,  p.  42. 


5.  Richard  Wilson,  the  first  English  painter  attempt- 
ing landscape  (17 13-1782);  Ruins  of  the  Villa  Maecenas 
at  Tivoli  and  Destruction  of  Niobe's  Children,  in  the 
National  Gallery;   Landscape  No.  215  (Dulwich  Gallery). 


Chesneau,  Eg.  School  of  Painting,  pp. 

109-14. 
LuEiiKE,  Mon.  Art,  Vol.  2,   pi.    136,  text 

PP-  345-6- 
Knight,  Pict.  Gal.  Arts,  Vol.    2,  text  p. 

399- 
Heaton,  Hist.  Painting,   pp.  508-10. 

Viardoi",  Hist,  Painters,  p.  405. 


Wornlm,  Epochs  of  Painting,  pp.  516-17. 
Cassell,  Art  Treasures,  pp.  99-110. 
Reynolds,    Discourses   on   Art,    Vol.    2, 

pp.  89-90. 
Tyti.er,  Mod.  Painters,  pp.  37-41. 
Bicker's    EO.  ,    Examples     of     Modern 

British  Art,  pi.  2. 


6.  Joshua  Reynolds,  the  first  president  of  the  Royal 
Academy  and  reformer  of  English  portraiture  (1725-1792); 
his  method  of  study  and  his  discourses  on  art;  the  rise  of 
the  Royal  Academy. 


HISTORY  OF  PAINTING. 


»3i 


Cook,    Art     in    England,    pp.    55-103       Cassell,  Art  Treasures,  pp.  51-5,  58-61, 

66-7. 


(Royal  Academy). 
Chesneau,  Eng.  School  of  Painting,  pp 

20  I  (foot  note). 
Conway,  Gainsborough  and  Reynolds. 
LuEiiKE,  Hist.  Art,  Vol.  2,  p.  564. 
Knight,  Pict.   Gal.  Arts,  Vol.  2,  text  p.       Rossetti,  Fine  Art,  p.  152. 

358.  Tyti.er,  Mod.  Painters,  pp.  13-26 

VlARDOT,  Hist.  Painters,  pp.  406-8. 


WoRNUM,  Epochs  of  Painting,  pp.  509-12. 
Heaton,  Hist.  Painting,  pp.  501-5. 
SWEETSKR,  Reynolds. 
Long,  Art  Laws,  pp.  148-52. 


7.  Portraits  by  Reynolds:  Miss  Kemble;  Mrs.  Sid- 
dons  as  the  Tragic  Muse;  Admiral  Kepple;  Samuel 
Johnson,  etc. 


Viardot,  Hist.  Painters,  p.  408. 
Cassell,  Art  Treasures,  pp.  55-58. 


SwEETSER,  Reynolds. 

Tytler  Mod.  Painters,  pp.  19-20. 


8.  Historic  and  poetic  paintings:  Macbeth  and  the 
Witches;  Hercules  strangling  the  Serpent;  Strawberry 
Girl;  Robinetta;   '•  Nelly  O'Brien." 


Chesneau,  Eng.  School  of  Painting,  pp,  Cassell,  Art  Treasures,  pp.  55-8,  61-5. 

24-30.  Hall,   Gems  of  European  Art,  Vo'.    i, 

LUEBKK,  Mon.    Art,  Vol.   2,   pi.    98,  text  pp.  113-18. 

p.  279  KoEHLKR,  Hist.  Art,  pi.  245. 

Jameson,  Sacre<l  .Vrt,  Vol    2,  p.  592.  J5ii  kek's     em..    Examples     of    Modern 

Knight,   Picl.    Gal.    .\rts.    Vol.   2,  II.   p.  IJritish  Art,  pi.  3. 

397.  SWEETSER,  Reynolds. 
VlARDOT,   Hist.    Painters,   p.  408 


9.  Thomas  Gainsborough,  the  father  of  Englisli 
landscape,  bravely  ignoring  the  Italian  style  (1727-178S); 
Market  Cart;  Cottage  Door;  Shepherd  Boy  in  a  Storm; 


132  HISTORY  OF  PAINTING. 

portrait  of  Mrs.  Siddons  (National  Gallery);  the  "  Blue 
Boy  "  •  master  Buttall; '  comparison  of  Reynolds  and  Gains- 
borough. 


Chesneau,  Eng.  School  of  Painting,  pp.  Heaton,  Hist.  Painting,  pp.  505-6. 

31-3  (foot  note),  1 15-17,  31-40;  20-4.  Hall,  Gems  of  European  Art,  Vol.  i,  pp. 

WoRNUM,   Ep»)chs  of  Painting,  pp.  517-  101-4,  133-4. 

18.  Gassell,  Art  Treasures,  pp,  67-78. 

Conway,  Gainsborough  and  Reynolds.  Koehler,  Hist.  Art,  pi.  245. 

LiEBKE,  Hist.  Art,  Vol.  2,  pp.  564,  580.  Reynolds,  Discourses  on  Art,  Vol.  2,  pp. 

Knight,  Pict.  Gal.  Arts,  Vol.  2,   II.   p.  80-9,  92-7. 

397,  text  p.  399.  Thoknbukv,  Life  of  Turner,  pp.  247-53. 

VlARDOT,  Hist.  Painters,  p.  409.  Bicker's    ed.,     Examples    of     Modern 

Tytler,  Mod.  Painters,  pp.  27-39.  British  Art,  pi.  4. 


10.  John  Singleton  Copley  (1737-18 15);  Death  of 
Lord  Chatham;  Siege  of  Gibraltar;  Death  of  Major  Pier- 
son;  Charles  I.  Signing  Strafford's  Death  Warrant. 

Chesneau,  Eng.  School  of  Painting,  p.  Bicker's    ed..    Examples     of    Modern 

62.  British  Art,  pi.  5. 

VlARDOT,   Hist.   Painters,  pp.  410-11.  Tlckkrman,  American  Artists,  pp.  71-81. 

Tytler,  Mod.   Painters,  pp.  47-8.  Benjamin,  Art  in  America,  Frontispiece, 

Heaton,  Hist.  Painting,  p.  514.  pp.  19-21. 
Rossetti,  Fine  Art,  pp.  152-3. 

11.  Benjamin  West,  the  second  president  of  the 
Royal  Academy  (i 738-1 820);  Death  on  the  Pale  Horse; 
Christ  Healing  the  Sick;  Christ  Rejected;  Death  of 
General  Wolf;  Saul  and  the  Witch  of  Endor. 


WoRNUM,  Epochs  of  Painting,    pp.  514-       Chesneau,  Eng.  School  of  Painting,  pp. 
16.  60-2. 


HISTORY  OF  PAINTING 


133 


LuEBKE,  Hist.  Art,  Vol.  2,  pp.  565;  Mon.       Long,  Art  Laws,  pp.  152-7. 


Art,  Vol.  2,  pi.  98,  text  p.  280. 
Knight,  Pic.  Gal.    Arts,   Vol.  2,  11. 

397,  text  p.  399 
VlARDOT,  Hist.  Painters,  p.  411. 
Tytler,  Moi.  Painters,  pp.  44-70. 
Heaton,  Hist.  Painting,  pp.  51 1-2. 
KoEHi-ER,  Hist.  Art,  PI.  245. 


Hai.l,   Gems  of  European  Art,   Vol.  i, 

pp.  37-41 ;  Vol.  2,  pp.  27-8. 
TicKERMAN,  American  Artists,  pp.    196- 

202. 
Benjamin,  Art  in  America,  pp.  17-19. 
Bicker's    ed  ,    Examples    of    Modern 

British  Art,  pi.  6. 


12.  Thomas  Lawrence  (i  769-1830);  Hamlet  with 
Yorick's  Skull;  Coriolanus;  portraits  of  George  IV., 
Lady  Peel,  Mrs.  Siddons,  the  "Red  Boy"  'Master  Lamb- 
ton,  '  etc. 


Chesneau,  Eng.  .School  of  Painting,  pp. 

49-36. 
Li'KliKE,  Hist.  ,\rt.  Vol.  2,  p.  564. 
Knkjut,  Pict.   Gal.    Arts,    Vol.   2,    II.   p. 

396- 
ViARnoT,  Hist.  Painters,  pp.  417  18. 
Tytler,  Mod.  Painters,  pp.  So  5. 
Heaton,  Hist.  Painting,  pp.  507-8. 


Cassell,  Art  Treasures,  pp.  166-83. 
Long,  Art  Laws,  pp.  152  7. 
Koehler,  Hist.  Art,  pi.  245, 
Murray,  British  School  of  Art,  Vol.  2, 

pi.  13. 
Bicker's    ed..     Examples     of    Modern 

British  Art,  pi.  8. 
Thornhury,   Life  of  Turner,  pp.  253-7. 


13.  Joseph  Mallord.  William  Turner,  the  greatest 
landscape  painter  of  England  (1775-1851);  his  isolated 
life  and  peculiar  character;  his  three  styles  and  periods  of 
excellence. 


WORNUM,  Epochs  of  Painting,  pp.  537  9. 
Hamerton,  Turner,  p\>.  1-48. 
Chesneau,  Eng.  School  of  Painting,  pp. 

M5-S3- 
Cook,  Art  in  England,  pp.  316-59. 


LUEUKE,  Hist.  Art,  Vol.  2,  p.  636. 
Viardot,     Hist.     Painters,    pp.     420-1  ; 
IIkaton,     Hist.     Painting,    pp.    518-23. 
Ci.KMKNT,  Artists,  19th  Cent  ,  Vol.  2,  pp 
304  6. 


134 


HISTORY  OF  PAINTING. 


Casseli.,  Art  Tieasures,  pp.  91-4, 
Thorn  BURY,  Life  of  Turner. 
MoNKHOUSE,  Turner. 
SwEETSER,  Turner. 


Tytler,  Mod.  Tainters,  pp.  86-106. 
RusKiN,  Mod.  Painters,  Vol.  5,  pp.  303- 

13,  358-9;  also  see  Index. 
Rossetti,  Fine  Art,  pp.  291-323. 


14.  Masterpieces  of  the  first  period  of  Turner's  art 
life  (1800-1820);  Calais  Pier;  Wreck  of  the  Minotaur; 
Death  of  Nelson;  Dido  Building  Carthag-e;  Crossing  the 
Brook;  Sun  Rising  in  a  Mist. 


LuEBKE,  Mon.  Art,  Vol.  2,  pi.  136,  text       Sweetser,  Turner,  pp,  44-8,  53-4,  60-2. 


P-345- 
Heaton,  Hist.  Painting,  p.  521. 
Cassell,  Art  Treasures,  pp.  95-8. 
Thornbury,  Life  of  Turner,  pp.  415-36, 

509-16. 
Hamerton,  Turner,  pp.  148-54. 


RusKi.N,  Mod.  Painters,  Vol.  i,  pp.  128- 
9;  Vol.  5,  pp,  314-29;  also  see  Index. 

Richards,  Examples  of  British  Art,  pis. 
9.  I3>  25. 

MoNKHOUSE,  Turner,  pp.  48  9,  92-8. 


15.  Turner's  second  and  best  period  (1820  1835); 
Bay  of  Baiae;  Ulysses  deriding  Polyphemus;  Golden 
Bough;  Regulus  leaving  Rome;  Ancient  Italy;  Modern 
Italy;   Cologne. 


Hamerton,  Turner,   pp.   198-9,  206-8, 

223-4,  261-2,  278-80. 
Murray,  British  Schools  of  Art,  Vol.  2, 

pi.  17. 
Heaton,  Hist.  Painting,  pp.  521-2, 
Thornbury,  Life  of  Turner,  pp.  436-49, 

516-20. 
MoNKHOUSE,    Turner,    pp.    97-9,   107-8, 

114  5 


Sweetser,  Turner,  pp.  66-77. 

RusKiN,    Mod.     Painters,    Vol.     5,    pp. 

330-47- 
ViARDOT,  Hist.   Painters,  p.  421. 
Bicker's    ed..    Examples     of    Modem 

British  Art,  pi.  9. 
Richards,  Examples  of  British  Art,  pis. 

2,  4. 


HISTORY  OF  PAINTING. 


135 


1 6.  Turner's  third  and  last  period  (i 835-1 844);  the 
Old  Temeraire;  Burial  of  Wilkie;  Snow  Storm;  Slave 
Ship. 

Thornbury,  Life  of  Turner,  pp.  323-4,  Hamerton,  Turner,  pp.  283-92. 

449-69,  520-5.  SwEETSER,  Turner,  pp.  96-9,  103-5. 

Mo.N'KHOUSE,  Turner,  pp.  118-20,  126-30.  Heaton,  Hist.  Painting,  p.  522. 

RusKiN,  Mod.   Painters,  Vol.  5,  pp.  347-  Richards,  Examples  of  British  Art,  pis. 

55-  7.  22. 

17.  John  Constable,  landscape  painter^  valiantly 
developing  the  work  Gainsborough  begun  {^yy^-iS;^'/); 
Valley  Farm;  Cornfield;  View  on  the  River  Stour. 


WoRNUM,  Epochs  of  Painting,  p.  540. 
Chesneai',  Eng.  School  of  Painting,  pp. 

136-45- 
Casseli.,  Art  Treasures,  pp.  79-91. 
VlARDOT,  Hist.  Painters,  pji.  421-2. 


Tytler,  Mod.  Painters,  pp.  145-9. 
Shedd,  Famous  Painters,  p.  272. 
Bicker's  eo..  Examples  of  Modern  Brit- 
ish Art,  pi.  10. 
Thornbi'RV,  Life  of  Turner,  pp.  260-4. 


18.  David  Wilkie,  painter  of  social  life  among  the 
common  people  (i 785-1841);  his  industrious  life  and 
style  of  genius. 


WoRNUM,  Epochs  of  Painting,  pp.  551-2. 
CUESNEAU,  Eng.  School  of  Painting,  pp. 

71-3.  86-91. 
Heaton,  Hist,  Painting,  pp.  515-6. 
Casseu.,  Art  Treasures,  pp.  7-9,  25-7. 


ViAKDDi",  Hist.  Painters,  p.  424. 
Tvri.EK,  Mod.  Painters,  pp.  106-21. 
LoNi;,  .\rt  Laws.  pp.  145-S. 
SiiEDi),  Famous  Painters,  i)p.  267-9. 
Jarves,  .\rt  Thoughts,  pp.  203-4. 


19.      Wilkie's  masterpieces:  Village  Politicians;  Rent 
Day;    Village    Festival;    Reading    of   the   Will;  Chelsea 


136 


HISTORY  OF  PAINTING. 


Pensioners  reading  the  Gazette  of  the  Battle  of  Waterloo; 
BHnd  Fiddler;  Rent  Day;  the  Cut  Finger. 


LUEBKK,  Mon.  Art,  Vol.  2,  pi.   132,  text 

P-  338. 
Hamerton,    Etching   and  Etchers,    pp. 

273-6. 
TVTI.ER,  Mod.  Painters,  pp.  121-3. 
Richards,  Examples  of  British  Art,  pi. 

II. 


Bicker's    ed,,     Examples    of    Modern 

British  Art,  pi.   14. 
Cassell,  Art  Treasures,  pp.  4-5,  8-25. 
Hai.l,  Gems  of  European  Art,  Vol.  i,  pp. 

129-32;  Vol.  2,  pp.  21-2,  29-32,  45-8, 

53-6,  79-80,  101-4,  109-10. 


20.  Benjamin  Robert  Haydon  (1786- 1 846);  Christ's 
Entry  into  Jerusalem;  Judgment  of  Solomon;  Raising  of 
Lazarus. 


Chesneau  Eng.  School  of  Painting,  pp. 

102-3. 
VlARDOT,  Hist.  Painters,  p.  425. 
Heaton,  Hist.  Painting,  pp.  514-5. 
RossETTi,  Fine  Art,  p.  151. 


Tytler,  Mod.  Painters,  pp.  123-7. 
Shedd,  Famous  Painters,  pp.  269-70, 
Bicker's    ed.,      Examples     of    Modern 
British  Art,   pi.    17, 


2  1.  William  Mulready,  the  painter  of  child  life  (1786 
-1863);  Choosing  the  Wedding  Gown;  Wolf  and  Lamb; 
Fight  Interrupted;  Crossing  the  Ford. 


Chesneau,  Eng.  School  of  Painting,  pp. 

8.-5. 
Heaton,  Hist  Painting,  pp.  516-7. 
Vl.\RDOT,  Hist.  Painters,  pp.  426-7. 
Tytler,  Mod.  Painters,  pp.  21 1-6. 
Stephens,  Memorials  of  Mulready. 


Bicker's    ed..     Examples    of    Modern 

British  Art,  pi.  16, 
Murray,  British  Schools  of  Art,  Vol.  i, 

pi.  i;  Vol.  2,  pis.  I,  7,  25. 
Clement,  Artists,   19th  Cent.,   Vol.   2, 

PP  137-8. 


HISTORY  OF  PAINTING. 


137 


22.  William  Etty  (1787-1849);  Judith  and  Holo- 
fernes;  Benaiah,  David's  Chief  Captain;  Youth  on  the 
Prow  and  Pleasure  at  the  Helm. 


WoRNUM,  Epochs  of  Painting,  pp.  532-3. 
VlARDOT,  Hist.   Painters,  pp.  427-8. 
Heaton,  Hist.  Painting,  pp.  517-8. 
Tytler,  Mod.  Painters,  pp.  137-45. 
Chesneau,  Eng.  School  of  Painting,  pp. 
64-6. 


Shedd,  Famous  Painters,  pp.  273-5  • 
Murray,  British  Schools  of  Art,  Vol.  i, 

pi.  44;  Vol.  2,  pi.  18. 
Bicker's    ed..    Examples     of    Modern 

British  Art,  pi.  20. 


23.  Charles  Robert  Leslie,  the  humorist  painter 
(1794-1859);  Sancho  Panzaand  the  Duchess;  Uncle  Toby 
and  the  Widow  Wadman;  Merry  Wives  of  Windsor;  the 
Queen's  Coronation, 


Chesneau,  Eng,  School  of  Painting,  pp. 

75-9- 

VlARDOT,  Hist.  Painters,  pp.  433-4,  456. 

Heato.n,  Hist.  Painting,  p.  517. 

Cassele,  Art  Treasures,  pp.  137,  140. 

Tytler,  Mod.  Painters,  pp.  219  29. 

Shedo,  Famous  Painters,  283-5. 

Bicker's  ED.,  Examjjlesof  Modern  Brit- 
ish Art,  pi.  26. 


Leslie's  Autobiographical  Recollections, 

Taylor's  preface,  pp.  LXX-LXXV. 
MiKRAV,  British   Schools  of  Art,  Vol.  i, 

pi.  4;  Vol.  2,  pi.  10. 
Jarvks,  Art  Thoughts,  pp.  203-4. 
Richards,  Examples  of  British   Art,  pi. 

14. 
Tickerman       American  Artists,  pp.  71- 

86. 


24.  Daniel  Maclise  (1811-1870);  frescoes  of  the 
Meeting  of  Wellington  and  Bliicher  after  the  Battle  of 
Waterloo,  and  of  the  Death  of  Nelson,  in  the  Houses  of 
Parliament;  Play  Scene  in  Hamlet;  Undine  in  the  Forest; 
Malvolio  and  the  Countess,  a  scene  from  "Twelfth  Night." 


138  HISTORY  OF  PAINTING. 

O'Driscoll,  Maclise.  Viakdot,  Hist.  Painters,  pp.  439-40, 

Chesneah,  Eng.  School  of  Painting,  pp.  Rossetti,  Fine  Art,  pp.  151,  245-54. 

103-5.  Tyti.er,  Mod.  Painters,  pp    234-42. 

LuEBKE,   Mon.  Art,  Vol.  2,  pi.  132,  text  Murray,  British  Schools  of  Art,  Vol, 

pp.  338-9.  pis.  27,  37;  Vol.  2,  pi.  40. 


25.  Edwin  Henry  Landseer,  the  English  master  of 
animal  painting  (i  802-1 873);  Chevy  Chase;  Hunted 
Stag;  High  Life  and  Low  Life;  the  Old  Shepard's  Chief 
Mourner;  There's  Life  in  the  Old  Dog  Yet;  Dignity  and 
Impudence;  Landseer's  animals  compared  with  those  of 
the  Flemish  and  Dutch  Painters. 


Chesneau,  Eng.  School  of  Painting,  pp.  Tvti.er,  Mod.  Painters,  pp.  245-51. 

97-103.  Cassell,  Art  Treasures,  pp.  28-42. 

LuEHKE,  Hist.  Art,  Vol.  2,  p.  636;  Mon.  RusKix,  Mod.  Painters,  see  Index  of  Vol. 

Art,  Vol.  2,  pi.  136,  text  pp.  344-5.  5,  "  Landseer." 

VlARDOT,  Hist.  Painters,  p.  436.  Murray,  British  Schools  of  Art,  Vol.  I, 

HEA.TON,  Hist   Painting,  p.  524.  pis.  17,  42;  Vol.  2,  pis.  5,  8,  31,  34. 

Osgood,  Engravings  from  Landseer.  Richards,  Examples  of  British  Art,  pis. 

Sweetser,  Landseer.  10,  20. 


HISTORY  OF  PAINTING.  139 


XXII.    THE  MODERN  ENGLISH  SCHOOL. 


[1850 — 1890    A.    1>.] 

1.  The  various  indications  of  a  oreneral  renaissance 
in  England  about  the  middle  of  the  present  century:  the 
disturbance  among  the  art  critics  by  Turner's  paintings 
after  1820;  the  disturbance  in  the  Church  by  the  "Tract- 
arian"  movement  at  Oxford;  the  new  discussion  of  the 
theory  of  beauty;  the  "Esthetes"  and  the  "Philistines." 

Chksneat,    Eng.     School     of    Painting,  Hamilton,  The/Ksthetic  Movement    in 

Kuslcin's    Introducttion,     pp.     xxxviii-  Eng.,  pp.  31-40;  41-110  (Oscar  Wilde 

xliii.  and  others);  125-7. 

Blackwood's      Mac,      Vol.      40,     pp.  Wkstminstkr    Rkv.,  2d  Series,  Vol.  7, 

227-3S.  604-20. 

2,  John  Ruskin  and  his  first  great  work,  the 
"Modern  Painters;"  its  great  force  to  awaken  and  to  divide 
the  English  public;  Ruskin  an  educator,  not  a  leader. 


Am.  Cvc,  Art.  "Ruskin."  Hamilion,  The  yEsthctic  Movement  in 
ClIKSNKAU,  Eng.  School  of  Painting,  ]>p.  Eng.,  pp.  13  22. 

246  50.  Umvkkshy  Ma(;.,  Vol.  57,  pp.  687-95. 

EVI-.KV    SAIfKDAV,   Vol.   5,  pp     443-4.  NoKlll   AM.    RkV.,   Vol.    74,   pp.  25I-4. 


I40  HISTORY  OF  PAINTING. 

3.  The  Pre-Raphaelite  Brotherhood,  a  small  group 
of  young  men  deeply  devoted  to  "Truth  in  Art;"  their 
short  but  suggestive  history;  modern  English  and  French 
art  compared. 

Holman  Hunt's  Light  of  the  World,  and  Christ  found 
in  the  Temple;  J.  E.  Millais'  The  North  West  Passage, 
the  Youth  of  Sir  Walter  Raleigh,  Effie  Deans,  Ophelia 
and  St.  Bartholomew's  Day. 

Chesneau,  Eng.  School  of  Painting,  pp.  Westminster   Rev.,  2d  Series,  Vol.   7, 

179-206,  167-78.  pp.  292-302. 

Eclectic  Rev.,  Vol.   103,  pp.  1-20  (by  Every  Saturday,  Vol.  5,  pp.  443-6. 

McCarthy),  Vol.  102,  pp.  641-58.  Brit.  Quar.  Rev.,  Vol.  16,  pp   197-220. 

London  Art  Jour.,  New  Series,  Vol.  3,  Fine  Arts  Quar.,  Vol.  2,  pp.  255-62. 

pp.  185-6,  285-6;  Vol.  7.  p.  100.  Nineteenth  Cen.,  Vol.  4,  pp.  925-31, 

Bentley's  Mis.,  Vol.  31,  pp.  598-610.  1072-82. 

4.  Landscape  study  of  the  Modern  English  School ; 
Nature  itself  the  dominant  object,  not  a  beautiful  frame  for 
narrative;  the  perfecting  of  water-color  painting  in  English 
landscape;  Holman  Hunt's  Hireling  Shepherd;  David 
Cox's  Turf  Cutters;  R.  W.  Macbeth's  Potato  Harvest  in 
the  Fens. 

Chesneau,   Engli.sh  School  of  Painting,  PjRIT.  Quak.    Rev.,   Vol.    16,    pp.   215-6 

pp.    136-45,  306-9,  241-2;  Education  of  (Hireling  Shepherd). 

the  Artist,   pp.  204-20.  Lipi'INCOTT's  M.\g.,  Vol.  2,  pp.  52-8. 

LuEBKE,  Hist.  Art,  Vol.  2,  pp.  635-6. 

5.  English  historic  painting:  Frederick  Leighton's 
Procession   of   Cimabue's    Madonna    and    Helen    on    the 

^  Ramparts  of  Troy;    Alma-Tadema's  Anthony  and  Cleo- 


HISTORY  OF  PAINTING.  141 

patra;  Burne-Jones'  Merlin  and  Vivien  (in  Tennyson's 
poem);  J.  E.  Millais'  The  Princes  in  the  Tower  and 
Princess  Elizabeth  in  Prison  at  St.  James. 

Chesneai:,  Eng.  School  of  Painting,  pp.       BRir.  Qi.ar,  Rkv.,  Vol.  16,  pp.  197-220. 
262-3  (Leighton),  263-5  (Tadema). 

6.  English  genre  painting,  abundant,  various  and 
highly  appreciated  from  the  year  1800  to  the  present. 
David  Wilkie's  Village  Politicians;  Erskine  Nicol's  Both 
Puzzled,  and  The  Rent  Day;  O'Neil's  Eastward  Ho! 
Thomas  Faed's  His  Only  Pair;  N.  J.  Croley's  Cup  Toss- 
ing; G.  H.  Boughton's  Judgment  of  Wouton  von  Twiller; 
William  Mulready's  Wolf  and  Lamb. 

CHKSNKAr,  Eng.  School  of  Painting,  pp. 
270-303. 

7.  English  caricature  in  painting  compared  with  that 
of  other  nations;  the  use  and  rank  of  caricature  in  art. 
Thomas  Rowlandson's  The  Mariners  Family,  Dance  of 
Life  and  Dance  of  Death;  John  Leech's  children  of  the 
Nobility  and  Christopher  Tadpole;  John  Teniel's  Alice  in 
Wonderland;   Kate  Greenway's  Mother  Goose. 


Chesnicat,  Eng.  .School  of  Painting,  pp.  On(  E  A  Week,  Vol.  9,  pp.  558-63. 

314-36.  Pakton,    Caricature,    pp.    90-158,    267- 

Westminsier  Rev.,    ist  Series,  Vol.  28,  300,  318-34. 

pp.  261-93. 


142 


HISTORY  OF  PAINTING. 

XXIIL— CHRONOLOGICAL  PERSPECTIVE. 


EARLY  PAINTERS— FIVE  CENTURIES. 


13th 


14th 


i5tli 


16th 


1 7th. 


CiMABUE 

Giotto 

Orcagna 

H.  VanEyck 

Fra  Angelico 

UCCEI.LO 

Van  der  Weyde.n... 

Massaccio 

FiLiPPO  Lii'Pi 

Giovani  Bellini 

Benozzo  Gozzoli.... 
Hans  Memling 

l^ANTEGNA 

Signorelli 

Perugino 

Botticelli 

Ghirlanoajo 

Leonardo 

FiLLIPPINO  LiPPI 

Albert  DOrer 

Lucas  Cranach 

Michael  Angelo.... 

Giorgione 

Titian 

Raphael 

Andrea  del  Sarto. 

Holbein 

Correggio 

Tintoretto 

Veronese 

A.  Caracci 

CARAVAt;(;io , 

GuiDO  Reni 

Rubens 

Domenichino: 

Nicolas  PoussiN 

Van  Dyke 

Velasquez 

Claude  Lorrain 

Rembrandt 

Teniers 

Salvator  Rosa 

Carlo  Dolce 

Murillo... 


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IBlB 


HISTORY  OF  PAINTING. 

XXIV.     CHRONOLOGICAL  PERSPECTIVE. 


H3 


LATER  PAINTERS— THREE  CENTURIES. 
I7ih.  i8th. 


19th, 


EUSTACHE   LeSUEUK ] 

Charles  Lebrun 

Antoine  Watteau 

William  Hogarth 

Richard  Wilson 

Joseph  Vernet 

Joshua  Reynolds 

Baptiste  Greuse 

Thos.  Gainsborough.  , 

John  S.  Copley 

Benjamin  West 

Louis  David 

P.  P.  Prud'hon 

Thomas  Lawrence 

J.  M.  W.  Turner 

John  Constable 

Jean  A.  D.  Ingres 

Peter  von  Cornelius., 

David  Wilkie 

Benjamin  R.  Haydon. 
William  Mulready. ... 

William  Etty 

Fred.  Overbeck 

Horace  Vernet 

Jean  Louis  Gericault 

S.  Leopold  Robert 

Charles  R.  Leslie 

Ary  Schkffer 

Paul  Delaroche 

Eugene  Delacroix 

Edwin  Landseer 

Gabriel  Decamps 

Wm.  von  Kaulbach... 
Constant  Troyon 
Daniel  Maclise... 


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PART  THIRD. 


History  of  Architecture. 


I.— TECHNICAL  TERMS. 


Note. — For  intelligent  study  of  even  the  history  of  this  branch  of  the  fine  arts, 
the  principal  technical  terms  must  be  in  mind  as  the  most  familiar  language.  This 
lesson  should  not  only  be  learned,  but  frequently  reviewed,  applied  to  convenient 
buildings,  and  illustrated  with  pen  or  pencil,   however  rude   the  drawing. 


I.      Definition  and  aim  of  architecture;  the  three  prin- 
cipal elements  of  architectural  design  in  any  building. 

a.    Fitness  and  convenience  for  the  purposes  required. 


ElDLlTZ,  Nature  of  Art,  pp.  211-27,  32-43.  Encvclop.^^dias,    especially  Enc.    Brit., 

Fergusson,  Hist.  Arch., Vol.  i,  pp.  10.16.  Ninth  Edition. 

Leeds,  Arch.  Orders,  pp.  1-2.  Ruskin,  Stones  of  Venice,  Vol.    i,   pp. 

GwiLT,  Enc.  Arch.,  pp.  795-7.  S'^S- 

ViTRUVius,  (Gwilt's)  pp.  9-10.  ViOLLET-LE-Duc,   Discourses   on   Arch., 

Garbett,  Arch.  Design,  pp.  1-8.  Vol.  i,  pp.  341-54- 


HISTORY  OF  ARCHITECTURE.  145 

b.  Artistic  construction,  or  the  arrangement  and 
proportion  of  all  parts  producing  the  most  stately  and 
ornamental  effect  consistent  with  the  purposes  of  the 
building. 

ElDi.iTZ,  Nature  of  Art,  pp.  269-91.  Encyci.oP/KDIAs. 

Fkrglsson,  Hist.  Arch.,  Vol.  i,  pp.  14-  Garbett,  Arch.  Design,  pp.  22-50,  46- 

31.  39-47-  58.  76-80,  91-7,  120--,  131-5. 

ViTRUViLs,    (Gwilt's),    pp.    9-10,    63-7,  RusKiN,  Stoncs  of  Venice,  Vol.  2,   pp. 

72-8,   134-5.  41-2,  133-42;  Lect.  Arch.,  pp.  89-114. 

e.  Decoration,  or  the  application  of  ornaments  most 
harmonious  with  the  construction  and  appropriate  to  the 
purposes  of  the  building. 

Fergusson,  Hist.  Arch.,  Vol.  i,  pp.  31-5.  Ruskin,  Stones  of  Venice,   Vol.    i,   pp. 

ViTRUVius,    (Gwilt's),    pp.    9-12  .  39-82,  433-5. 

GwiLT,  Enc.  Arch.,  pp.  800-3.  Vioi.I.ET-1.E-Di;c,   Discourses   on    Arch., 

Garbett,  Arch.  Desijjn,  pp.  ia-22.  Vol.  2,  pp.  170-208. 

2.  Stories  or  floors;  basement,  ground  story,  first 
story,  second,  etc.  Entresol,  clerestory,  attic  and  its  parts 
(gable  or  pediment.) 

Gwii.T,  Enc.  Arch.  Fairholt,  Diet.  Terms  in  Art. 

Nicholson,  Enc.  Arch.  Clement,  Hist.  Arch.,  pp.  52-4. 

Parker,  Glos.  Arch. 

3.  Constructive  ornaments*;  horizontal  relief  or 
courses  marking  on  the  external  walls  the  divisions 
between  the   successive  stories,  etc.;  ground  table,   dado 

*  Note. —Mechanical  construction  requires  only  a  plain  walL 


146  HISTORY  OF  ARCHITECTURE. 

and     surbase     or    water    table;     string     course,    corbel 
table,  etc, 

GwiLT,  Enc.  Arch.  Smith,  Gothic   and   Renaissance  Archi- 
NiCHOLsoN,  Enc.  Arch.  lecture. 

Parker,  Glos.  Arch.  Ruskin,  Stones  of  Venice,   Vol.    i,    pp. 
Fairholt,  Diet.  Terms  in  Art.  56-66. 

4.  Constructive  ornaments:  niche,  canopy,  boss, 
vaulting  shaft  and  rib ;  antifixa,  bracket,  corbel  and 
mullion. 

Ruskin,  Stones   of  Venice,  Vol.   i,    pp.       Encyclopedias   etc.,  as  above. 

59-65,  132-60,  168-88,  212-7.  AUDSLEY,  Diet,  of  Arch.,  art  "Boss." 

KOEHLER,  Hist.  Art,  PI.  Ii. 

5.  Constructive  ornaments — Classic*:  column  or 
pillar,  pilaster,  pedestal  and  its  parts  (base,  dado,  cornice); 
shaft  (plain,  fluted  with  arris,  fluted  with  fillet,  reeded, 
cabled);  capital  and  its  parts  (neck,  bell,  abacus);  entab- 
lature and  its  parts  (architrave,  frieze,  cornice.) 

RosENGARTEN,  Arch.  Styles,  pp.  73-87.  Encyclopedias,  etc.,  as  above. 

Ruskin,    Stones  of  Venice,  Vol.   i.   pp.  Audsley,  Diet,  of  Arch.,  art  "Abacus," 

76-131,  331-60.  "Architrave,"  "Base." 

Smith,  Gothic  and  Renaissance  Arch. 

6.  Simplest  decorative  ornaments — Classic:  mould- 
ings; bead,  torus,  roll,  quirk,  fillet,  band,  ovolo,  echinus, 
cavetto,  scotia,  ogee  and  cyma. 


•  Note. — Mere  mechanical  construction   requires    only  piers  for  support  and  plain  cross-beam  for 
the  architrave — indeed  for  the  whole  entablature. 


HISTORY  OF  ARCHITECTURE.  14'/ 

Ru?KiN,   Stones   of  Venice,  Vol.   i,  pp.  Smith,  Gothic  and  Renaissance  Arch. 

293-305,  457-9.  EncycloP/Edias,  etc.,  as  above. 

EiDLlTZ,  Nature  of  Art,  pp.  316-29,  Audsley,  Diet,  of  Arch.,  art.  "Band," 

Vioi.LET-LE-Duc,    Discourses  on    Arch,,  "Bead." 

Vol.  I,  pp.  460-9. 


7.  Conventional  decorative  ornaments  —  Classic: 
frets;  rectangular,  dovetail,  diamond  and  trellis. 

E.NCYCLOP.(EDiAS,  etc  ,  as  above. 

8.  Conventional  decorative  ornaments — Norman  and 
Gothic:  finial  and  crocket;  billet  (roll,  square,  segmental), 
zigzag  or  chevron;  cable  moulding;  nailhead,  lozenge 
and  studded  ornaments. 

EncycloP/EDIas,  etc.,  as  above,  Audslky,  Diet,  of  Arch.,  art.   "  Billet," 

9.  Conventional  decorative  ornaments — Norman 
and  Classic :  pellet,  ball  flower,  fir  cone,  chain,  double 
cone;  embattled,  scalloped  and  nebule;  egg  and  dart; 
bead  and  reel;  shield,  tooth  and  head  (cat,  dog,  bird, 
man);  leaf,  flower  and  fruit. 


RlSKlN,  Stones    of  Venice,    Vol.  i,    pp.        En<:yci.()P.«I)IAS,  etc.,  as  above. 

251-7.  AuDsi.KY,    Diet,    of  Arch.,    art.    "Ball 

Smith,  Gothic  and  Renaissance  Arch.  flower,"  "IJird," 


148  HISTORY  OF  ARCHITECTURE. 


II.    EGYPTIAN  ARCHITECTURE. 


1.  General  outline  of  Egyptian  history,  as  now 
known ;  some  account  of  the  religion  of  the  ancient 
Egyptians. 

Fergusson,  Hist.  Arch.,    Vol.  i,  pp.  88-  Encyclopedias,    "Egypt,"    especially 

94,  1 12-3.  Enc.  Brit.,  Ninth  Edition. 

RosKNGARTEN,  Arch.  Styles,  pp.  15-7.  Rawlinson,    Religions  of  Anc.   World, 

Lepsius,  E^ypt,  pp.  400-96.  pp.  6-34. 

Zerffi,  Hist.  Dev.  Art,  pp.  103-8.  Clement,  Hist.  Arch  ,  pp   8-9. 

2.  The  monuments,  the  most  perfect  and  most 
abundant  in  the  world  (a);  the  climate  and  materials  so 
excellent  for  durability  —  limestone,  sandstone,  syenite 
and  clay  (b). 

OsBURN,   Mo".   Hist.    Egypt,  Vol.   i,  p.  Wilkinson,  Anc.  Egyptians,  Vol.  2,  pp. 

187(a),  188-93  (b).  121-2,  179-82  (b). 

Mariette,  Mon.  Upper  Egypt,  pp.  56-  Blackwood's  Mag.,  Vol.  108,  p.  225  (b). 

7(b).  Mitchell,  Hist.  Anc.  Sculpture,  pp.  17- 

LoNG,  Egyptian  Antiq.,  Vol.  2,   pp.  261-  19  (b). 

85  (b).  Rawlinson,    Hist.    Anc.    Egypt,  Vol.  i, 

Sharpe,  Hist.  Egypt,    Vol.    i,    p.  35  (a),  p.  58  (b). 

6,  195  (b). 

3.  The  passion  for  posthumous  fame  (a);  the  mul- 
titude of  temples  and  every  temple  a  mere  tabularium 
(b);  universality  of  inscribed  ornaments  and  utensils  (c). 


HISTORY  OF  ARCHITECTURE.  149 

OsBiRN,  Mon.  Hist.  Egypt,  Vol.   i,   pp.  Wilki.nson,  Anc.  Egyptians,  Vol.  2,  pp. 

193-4,  447-9  (a,  b),  194-6  (c).  2-9,  93  (c). 

Makiette,    Mon.    Upper    Egypt,     pp.  Edinburgh  Review,  Vol.  82,  pp.  393-4 

3-6,  35-46  (b).  (c). 

Murray,  Egypt,  Vol.  i,  pp.  74-5  (b).  Am.  Bid.  Repos.,  Vol.  10,  pp.  45-6. 

Sharpe,  Hist.    Egypt,   Vol.    i,  pp.  66-7  Co.sTEMr.  Rev.,  Vol.  40,  p.  45  (b). 

(a),  22  (a,  b),  28  (b).  Van  Dykk,  Principles  of  Art,  Chap,  i. 


4.  The  pyramid  builders  in  the  various  nations, 
India,  Mexico,  Peru,  etc.  (a);  general  characteristics  of 
the  Eg-yptian  pyramids  (b);  general  account  of  the  'three 
great  pyramids '  of  Gizeh  and  their  builders  (c). 


Brugsch,   Egypt   Under  the  Pharaohs,  Russell,  Egypt,  pp.  1 13-16  (b),  92-3  (c). 

Vol.  I,  pp.  86-92  (c).  Wilkinson,  Anc.  Egyptians,  Vol.  i,  p. 

OsBUKN,   Mon.   Hist.   Egypt,  Vol.  i,  pp.  13,  (b,  c). 

252-3  (c).  Kenkick,  Anc.  Egypt,  Vol.  i,  p.  90  (a), 

Rawlinson,  Story  of  Anc.  Egypt,  p.  65  118-25  (b),  98-9  (c). 

(a),  66-7,  89(b),  67(c).  Am.  Cyc,  Vol.  14,  pp.  107  (a),  105-6  (c). 

Murray,  Egypt,  Vol.  i,  pp.  239-42  (b,  c).  Eclectic  Rev.,  Vol.  79,  p.  579  (c). 

LoNC,  Egyptian  Antiq.,  Vol.  2,  pp.  197-  Enc.  Buit.,  Vol.  20,  pp.  122-4. 

206(b).  Kercusson,  Hist.  Arch.,  Vol,  i,  pp.  96, 

Mariette,  Mon.   Upper  Egypt,  pp.  65-  105(b). 

70  (b,  c),  87  (b).  Rebek,  Hist.  Anc.  Art,  pp.  3-4  (c). 

Sharpe,  Hist.   Egypt,  Vol.   i,  pp.  22-6  Ebeks,  Egypt,  Vol.  i,  pp.  117-37. 

(b.  c). 


5.  The  first  great  pyramid,  or  the  pyramid  of  the 
king  Khufu,  or  Cheops,  or  Suphis  —  dimensions,  material 
and  order  of  building  (a);  the  passages,  shaft,  long  gal- 
lery and  royal  chambers  —  their  relative  positions,  dimen- 
sions and  purposes  (b);  the  character  of  King 
Khufu  (c.) 


15° 


HISTORY  OF  ARCHITECTURE. 


Brugsch,   Egypt  Under   the    Pharaohs, 

Vol.  I,  pp.  84-93  (c). 
OsBURN,  Mon.  Hist.  Egypt,  Vol.   i,  pp. 

270-2  (a),  273,  275-7  (b). 
Rawi.inson,  Story  of  Ancient  Egypt,  pp. 

75-6  (a),  77-82  (b),  83-6  (c). 
Murray,  Egypt,  Vol.  i,  pp.  244-7  (^>  c), 

249-54  (b). 
Bartlktt,  Nile  Boat,  pp.  95-6,   102-5, 

107(a). 
Long,  Egyptian  Antiq.,  Vol.  2,  pp.  207- 

31.  (a,  b). 
Clement,  Hist.  Arch.,  pp.  3-5. 


Fairholt,  Up  the  Nile,  pp.  64-8  (a,  b). 
RussKi.L,  Egypt,  pp.  93,   111-12  (a),  94- 

102  (b). 
Kenrick,  Anc.  Egypt,  Vol.  i,  p.  100(c), 

pp.  101-6,  90-1  (b),  87-9  (b). 
E.NC.    Brit.,  Vol.    7,   pp.    771-2  (a,  b), 

783  (c). 
Fergusson,  Hist.  Arch.,  Vol.  PP97-9. 
Reber,  Hist.  Anc.  Art,  pp.  5-6  (a). 
Rawlinson,  Hist.  Anc.  Egypt,  Vol.   i, 

pp.  202-15  (a,  b);  Vol.  2,  pp.  52-9  (c). 
Smith  and  Slater,  Classic  Arch.,  pp. 

16-24  (a,  b). 


6.  The  second  pyramid  and  the  Great  Sphinx — the 
works  of  Shafra,  or  Khafra,  or  Sepheres,  the  third  king  of 
the  fourth  dynasty  (a);  the  temples  associated  with  the 
Sphinx  and  the  secret  passages  connecting  the  Sphinx 
and  the  pyramid  (b);  the  third  "beautiful"  pyramid  of  the 
fourth  king  Menkaura,  or  Mencheres  (c). 


Brl'gsch,    Egypt    under    the   Pharaohs, 

Vol.  I,  pp.  94-100  (a,  b),    101-3  (c). 
OsiiURN,  Mon.   Hist.  Egypt,  Vol.   i,  pp. 

30S-11  (a),  320-S  (c). 
Rawlinson,    Story  of  Anc.  Egypt,  pp. 

6S-72,  92  (a),  67-8,  90  (b). 
Mirray,  Egypt,  Vol.  i,  pp.  254-5,  258- 

61  (a),  261  (b). 
Bartlett,  Nile  Boat,  p.  105  (a,  c),  93-5 

(b). 
Fairholt,  Up  the  Nile,  p.  69  (a),  72-6 

(I'),  70-1  (c). 
Lo.NG,  Egyptian  Antiq.,  Vol.  2,  pp.  232- 

7  (•"-),  242-7  (b),  237-8(0. 
Russell,  Egypt,  pp.  103-9,  116-22  (a). 


Mariette,  Mon.  Upper  Egypt,  pp.  70-8 

(a,  b). 
Shari'e,  Hist.  Egypt,  Vol.  1,  p.  26  (a). 
Wilkinson,  Anc.  Egyptians,  Vol.  2,  pp. 

93-4  (a). 
Kenrick,   Anc.   Egypt,  Vol.   1,  pp.  107- 

9,  Ii2-ii6(a),  109-ri  (b). 
Enc.  Brit.,  Vol.  7,  p.  533  (c),  772. 
Fergl-sson,  Hist.  Arch  ,  Vol.  1,  pp   104, 

106  (b). 
Rei!ER,  Hist.  Anc.  Art,  pp.  7-8  (c). 
Rawlinson,   Hist.  Anc.   Egypt,  Vol.   i, 

pp.  200-3  (t),  195-200  (c);  Vol.  2,  pp. 

60-5  (a),  65-8  (c). 


HISTORY  OF  ARCHITECTURE. 


151 


7.  Amenhotep  III.  the  devout  temple  builder  to  the 
god  Ammon  (a);  his  new  temple  of  Ammon  at  Luxor  (b); 
his  new  temple  of  Ammon  near  the  old  temple  of  Ammon 
at  Karnak  and  the  avenue  of  sphinxes  between  them  (c); 
his  temple  of  Ammon  at  Medinet  Abou,  in  front  of  which 
were  erected  colossal  statues  of  himself  (d);  the  "vocal 
Memnon"  of  the  Greeks  (e). 


Rawlinson,    Anc.    Egypt,    Vol.    2,    pp. 

267-8  (a),  272-3  (b);  Vol.    i,  pp.  224- 

30  (b). 
OsHURN,  Mon.    Egypt,   Vol.  2,   pp.    181, 

187,  196(d). 
Am.  Cyc  ,  Vol.  15,  p.  689  (d). 
Wilkinson,  Anc.  Egyptians,  Vol.  2,  pp. 

432-4  (b). 
Kknrick,  Anc.   Egypt,    pp.   133-4,    '44 

(e). 
Bri(;sch,    Egypt    under    the    Pharaohs, 

Vol.  I,  p.  295  (a),  478,  479-80  (d,  e). 
SnARPE,  Hist.  Egypt,  Vol.  i,  pp.  68,  72. 


Fraskr'.s  Mac;.,  Vol.  i,  p.  154  (e). 

QirARTKRLY  ReV.  ,   Vol.    I38,     pp.     529-39 

(e). 
Pknny  Mag.,  Vol.  2,  pp.  389-91  (e). 
New  Mt).NTHLY  Mag.,  Vol.  35,  p.  336  (e). 
Hei.i.,  F"rom  Pharaoh  to  Fellah,  p.  121  (a) 
Rawlinson,  Story  of  Anc.  Egypt,  chap. 

13. 
EiiERS,  Egypt,  Vol.  1,271  (e). 
Edwards,  Thousand  Miles  Up  the  Nile, 

pp.  140-56,  147-54  (a,  1),  c). 
Clement,  Hist.  Arch.,  pp.  9-13  (c). 


8.  The  great  architectural  works  of  Rameses  II. 
(xix  Dynasty,  B.  C.  1350);  his  obelisks  at  Heliopolis  and 
Luxor  (a);  his  colossal  statues  at  Ipsambul,  Memphis  and 
Thebes  (b);  his  new  temples  at  Thebes,  Rameseum, 
(Memnonium),  the  two  temples  at  Ipsambul  or  Abu-Sim- 
bel  (d);  and  his  palace  temples  at  Kourneh  (c);  his  great 
works  on  the  temples  of  the  earlier  Pharaohs — at  Karnak, 
Abydos,  Memphis,  Luxor  and  in  Nubia  (e);  his  tomb  (f). 


152 


HISTORY  OF  ARCHITECTURE. 


Rawlinson,  Anc.  Egypt,  Vol  i,  p.  230 

(a);  Vol.  2,  pp.  351-2  (a);  328-30  (d). 
Wilkinson,  Anc.  Egyptians,  Vol.  i,  pp. 

50,  76,  78(a);  Vol.  2,  p.  306  (b);  Vol. 

3,  pp.  427-9  (b). 
OsBURN,   Mon.  Egypt,  Vol.  2,  pp.  457-9 

(a);  460(b);  509  (d);  546  (e);  549  (f). 
Overland  Monthly,  Vol.   14,  pp.  438- 

44  (a). 
Scribner's  Monthly,  Vol.  4,  pp.  387- 

409  (d). 
Ken  RICK,  Anc.  Egypt,  pp.  129  32  (c). 


Rawlinson,    Story   of  Anc.    Egypt,   p. 

248  (1)). 
Edwards,  Thousand  Miles  Up  the  Nile; 

p.    137  (a);   284-306   (b);  324-53   (d), 

147-54  (e). 
Ekkrs,  Egypt,  Vol.  i,  pp.   254-5,  278-84 

(d),  215. 
Bartletp,    Egypt   to    Palestine,    p.    76 

(c,  e). 
Smith  AND  Slater,  Classic  Arch.,   pp. 

31-2  (b). 


III.  ASIATIC  ARCHITECTURE. 


1.  Ancient  religions  of  the  West- Asiatic  nations: 
Chaldsean,  Assyrian,  Babylonian,  and  Persian;  their 
remarkable  progress  in  astronomy  and  engineering. 

LUEBKE,  Hist.  Art,  Vol.  i,  pp.  66  7.  Clodd,    Childhood    of    Religions,     pp. 

Rawlinson,  Religions  of  the  Anc.  World,  158-69. 

pp.  35-104.  Clement,  Hist.  Arch.,  pp.  22-3. 

Clarke,   Ten   Great  Religions,  Vol.   i,  Encyclopedias. 

pp.  171-208. 

2.  Similarity  of  architectural  styles  in  Western  Asia: 
location  of  buildings;  materials  of  construction;  charac- 
teristic ornamentation;  development  of  the  column  and 
the  arch;  colossal  sculptures. 


Fergusson,    Hist.    Arch.,    Vol.     i,    pp.       Luebke,   Hist.   Art.,  Vol.    i,  pp.  50-1, 

144-9,  204-8.  64-6,  74-7. 

Goodyear,  Hist.  Art,  pp.  37-8.  Tuckerman,  Hist.  Arch.,  pp.  39-45. 


HISTORY  OF  ARCHITECTURE.  153 

Smith  and  Slater,  Classic  Arch.,  pp.       Clement,  Hist.   Arch.,  pp.  23-4,  28-9, 

43-4.  61-3.  34,  39-41. 

Parker,  Glos.  Arch. 

3.  Assyrian  and  Babylonian  architecture:  the  palace 
of  Khorsabad;  ruins  of  Nineveh;  Birs-i-Nimroud;  "Hang- 
ing Gardens"  of  Babylon. 

Fergusson,    Hist.    Arch.,    Vol.     i,    pp.  Smith  and  Sl.a.ter,  Classic  Arch.,  pp. 

150-87.  44-53. 

LuEBKE,  Hist.  Art,  Vol.  i,  pp.  51-61.  Layakd,  Nineveh  and  its  Remains. 

Ai  DSi.EY,    Diet.    Arch.,  art.     "Assyrian  Ruins  of  Nineveh  and  Babylon. 

Arch.,"  "Babylonian  Arch."  Encyclop/EDIAs . 
Clement,  Hist.  Arch. ,  pp.  20-34. 

4.  Persian  architecture :  its  comparatively  late  devel- 
opment; Tomb  of  Cyrus  at  Pasargadae;  the  magnificent 
ruins  of  Persepolis,  with  the  "Hall  of  a  Hundred  Columns" 
and  the  "Great  Hall  of  Audience"  or  "Hall  of  Xerxes." 

Fergusson,  Hist.  Arch.,  Vol.   pp.   188-       Luebke,  Hist.  Art,  pp.  67-74. 

203.  Clement,  Hist.  Arch.,  pp.  34-44. 

Smith  and  Slater,  Classic  Arch.,  pp.       Ti/ckerman,  Hist.  Arch.,  pp.  45-7. 

53   61.  EnCYCH»1'/EDIAS. 

5.  General  account  of  the  great  religions  of  India — 
the  early  Sanskritic  religion,  Brahmanism  and  Buddhism. 

Fergusson,  Hist.  Arch.,  Vol.  3,  pp.  15-  Zkkiki,  Hist.  Dev.  .\rt,  pp.  62-75. 

17,  35-42.  Rawlinson,  Religionsof  the  Anc.  World, 
Clodd,  Childhood  of  Religions,  pp.   136-  pp.  105-29. 

57,  170  88  Enc.  Brit.,  Vol.  12,  ]ip.  782-6. 

LUEHKE,  Hist.  Art;  Vol.  I,  pp.  97-8.  Clark,  Ten  (Jreat  Religions. 

6.  Rock-hewn  and  cave  temples,  especially  the 
Brahmin  temple  Kylas  and  the  Buddhist  temple  Wisna 
Karma,  and  that  of  Indra  at  Ellora  in  Madras. 


>S4 


HISTORY  OF  ARCHITECTURE. 


Ferguson,  Hist.  Arch.,  Vol.  3,  pp.  105- 

32,  138-44,  163-6,  261-4. 
LUK.BKE,   Hist.   Art,   Vol.    i,  pp.  98-104; 

Mon.    Art,  Vol.  I,  pis.    9,  10,  text  pp. 

33-6. 
Kmc.ht,  rict.  Gal.  Arts,  Vol.  2,  II.  pp. 

16-17,  text  pp.  18-19. 
RosENGARTEN,  Arch.  Styles,  pp.  1-9. 


Bury,  Arch.  Styles,  pp.  50-5. 
Zerkfi,  Hist.  Dev.  Art,  pp   76-9. 
Bayard  Taylor,  India,  pp.  45-53. 
GwiLT,  Enc.  Arch.,  pp.  25-8. 
Nicholson,  Enc.  Arch.,  Vol.  2,  pp.  3-4, 

6-10. 
Parker,  Glos.  Arch.,  Vol.   i,  pp.  265-6. 
Enc.  Brit.,  Vol.  2,  pp.  394-5. 


7.     Buddhist   architecture:      Lats  or  single  columns; 
their  varieties  and  purposes. 


Fergusson,   Hist.  Arch.,  Vol.  3,  pp.  50,        Smith  and   Si.atkk,  Classic  Arch.,    pp. 

52-6,  196-8,  276-8.  65-6. 

Li.EBKE,  Hist.  Art,  Vol.  i,  p.  99. 


8.     Buddhist  architecture:     Topes  or  Stupas  and  the 
Rails  enclosing  them. 


Fergusson,  Hist.  Arch.,  Vol.  3,  pp.  50,  Encyclop.T-dias. 

57-104,  192-6.  Smith  and  Slater,  Classic  Arch.,   pp. 

LUEBKE,  Hist.  Art,  Vol.  i,  pp.  99-102.  66-7,  69-71. 
RosENGARTEN,  Arch.  Styles,  pp.  7-9. 


9.      Buddhist  architecture:    Pagodas  and  the  Viharras 
or  monasteries. 


Fergusson,  Hist.  Arch.,  Vol.  3,  pp.  133- 
8,  144-59,  169-84,  228-64,  285-302. 

LuEBKE,  Hist.  Art,  Vol.  i,  pp.  104-6, 
110-14;  Mon.   Art,  Vol.    i,  pi.    10,  text 

PP   36-7- 
Nicholson,  Enc.  Arch.,  Vol.  2,  pp.  10- 
12. 


RosENGARTEN,  Arch.  Styles,  pp.  9-14. 
Parker,  Glos.  Arch.,  Vol.  i,  pp.  265-6. 
Knight,  Pict.    Gal.  Arts,  Vol.  2,  II.  pp. 

16-7,  text  pp.  18-19. 
Encyclop.^dias. 
Smith  and  Slater,  Classic  Arch.,  pp. 

67-9. 


HISTORY  OF  ARCHITECTURE.  155 

10.  Architecture  in  southern  India,  or  the  Dravidian 
style;  general  ground  plan  and  varieties  of  structures  of 
the  Indian  Temple  system. 


Fergusson,  Hist  Arch.,  Vol.  3,  pp.  319-       Bury,  Arch.  Styles,  pp.  55-7. 
45.  En'cyci.oi'.kdias. 


II.     Dravidian  architecture,     the  Pagoda  at  Madura; 
at  Seringham;  at  Chillambaran. 


Fergusson,  Hist.  Arch.,  Vol  3,  pp.  347-       Bury,  Arch.  Styles,  pp.  57-8. 

67.  (iwii.T,  Enc.  Arch.,  pp.  27-30. 

RosKNGARTKN,  Arch.  Styles,  pp.  13-14.         ENCYCi.oivEniAS. 


12.      General  criticism  of  the  architecture  of  India,  not 
including  the  Mohammedan. 


P'krgusso.n,  Hist.  Arch.,  Vol.  3,  pp.  3-46.       Zkkffi,  Hist.  Dev.  Art,  pp.  74-6,  78-82. 
LUKBKE,  Hist.  Art,  Vol.  i,  p.  106.  Gwii.r,  Enc.  Arch.,  pp.  39-40. 

Bi  RV,  Arch.  Styles,  p.  58. 


'56 


HISTORY  OF  ARCHITECTURE. 


IV.    ARCHITECTURE  OF  ANCIENT  GREECE, 


I.  The  Cyclopean  or  Pelasgic  architecture;  the  walls 
of  the  cities  Tiryns  and  Mycenae;  the  Gate  of  the  Lions; 
the  "Treasury"  or  Tomb  of  Atreus. 


Fergusson,  Hist.  Arch.,  Vol.  i,  pp.  231- 

40. 
LuEBKE,    Hist.  Art,   Vol.    i.    pp.    121-8; 

Mon.  Art,  Vol.  i,  pi.  i,  text  pp.  40-4. 
ScHLiEMANN,    Mycenre,    pp.    VIII-XII, 

1-8,  28-44,  47-8,  1 21-2. 
RosENGARTEN,  Arch.  Styles,   pp.  56-60. 
Quarterly  Rev.  Am.  ed.,  Vol.  150,  pp. 

246-60. 
Edinburgh  Rev.  Am.  ed..  Vol.  149,  pp. 

109-125. 
Bury,  Arch.  Styles,   pp.  7- 12. 


WoRDSWORTH.Greece,  pp.  57-60,  339-43. 
Aberdeen,  Grecian  Arch.,  pp.  38-48. 
GuHL,  Greeks  and  Romans,   pp.   59-62, 

67-8. 
KoEHLER,  Hist.  Art,  pi.  7. 
Fitz-Patrick,    Autumn    Cruise    in    the 

/Egean,  pp.  268-306. 
North  Amer,  Rev.,  Vol.  131,  pp.  484- 

95- 
Smith  and  Slater,  Classic  Arch.,  pp. 
85-6. 


2.  Temples  and  palaces  of  Pelasgic  Greece,  as 
described  in  the  poems  of  Homer;  the  religion  of  the 
ancient  Greeks;  the  special  purposes  of  the  Greek  temple. 


Fergusson,  Hist.  Arch.,  Vol.  i,  p.  239. 
Pope,  Iliad,  Book  6,   p.    116;   Book   12, 

pp.  223-4;  Book  17,  p.  238. 
Bryant,  Iliad,  Book  6,  p.  162;  Book  12, 

p.  323;  Odyssey,  Book  I,  pp.  15-19. 
Collins,  Odyssey,  Book  I,  pp.  54-5. 
GuHL,  Greeks  and  Romans,  pp.  1-51. 
Smith,  Hist.  Greece,  pp.  143-6. 
Felton,  Anc.    and  Mod.  Greece,  Vol.  i, 

pp.  442-51. 
Wordsworth,  Greece,  pp.  277-80. 


SCHLIEMANN,  MyceuDs,  preface. 
GwiLT,  Enc.  Arch.,  pp.  59-60. 
Aberdeen,  Grecian  Arch. ,  pp  32,38-40, 

48-62. 
Rawllnson,  Religions  of  the  Anc.  World, 

pp.  176-212. 
Falke,  Greece  and  Rome,  pp.  131-49. 
St.  John,  The  Hellenes,  Vol.  i,  pp.  349 

-68. 
Smith  and  Slater,   Classic  Arch,  pp. 

80-2. 


HISTORY  OF  ARCHITECTURE. 


157 


3.  The  Doric  style;  some  account  of  the  Dorian, 
the  Ionian  and  the  Phoenician  tribes;  their  migrations  and 
respective  characteristics. 


Fergusson,    Hist.    Arch.,    Vol.     i,    pp. 

248-53,  257-61. 
LuEBKE,  Hist.  Art,  Vol.  i,  pp.  129-38. 
RosENCARTEN,    Afch    Styles,   pp.    60-1, 

64,  73-6,  87. 
Bury,  Arch.  Styles,  pp.  13-14. 
Leeus,  Orders,  pp.  1-28. 


Zerffi,  Hist.  Dev.  Art,  pp.  177-8. 
St.  John,  Greece,  Vol.  i,  pp.  15-28. 
NicHOLSo.N,  Enc.  Arch.,  Vol.  i,  pp  290-5. 
GwiLT,  Enc.  Arch.,  pp.  60-2,  900-1. 
HoRTON,  Arch.,  pp.  56-7. 
Clement,  Hist,  Arch.,  p.  54, 


4.  Celebrated  early  specimens  of  the  Doric  style 
(B.  C.  650-550):  temple  of  Minerva,  at  Corinth;  temple 
of  Neptune,  at  Psestum;  temple  at  Agrigentum,  in  Sicily; 
temple  of  Jupiter,  at  /Egina;  temple  of  Jupiter,  at 
Olympia. 


Fergusson,  Hist.  Arch.,  Vol.  i,  pp.  242- 

4,  261-2. 
LuKBKE,  Hist.  Art,  Vol.   i,  pp.  143,  146- 

50- 
RosENGARTEN,  Arch.  Styles,  pp.  61-2. 
Stuart,  Antiq.  Athens,  pp.  123-4. 
Wordsworth,  Greece,  pp.  31 1-13,  349- 

,  5'- 
Gum,,  Greeks  and  Romans,  pp.  33-7. 


Knigjit,  Pict.  Gal.   Arts,  Vol.  2,   II.  pp. 

20-5,  text  pp.  26-7. 
Bury,  Arch.  Styles,  \>.  14. 
Gwii.T,  Enc.  Arch.,  pp.  64-5. 
Nicholson,    Enc.    Arch.,    Vol.     i,    pp. 

299  300. 
Aberdeen,  Grecian  Arch.,  pp.  66-71. 
KoEHi.ER,  Hist.  Art,  pi.  8. 


5.  Later  and  finer  specimens  of  the  Doric  style 
(B.  C.  430-270):  temple  of  Theseus,  at  Athens:  temple 
of  Apollo  Epicurius,  at  Bassae. 


158 


HISTORY  OF  ARCHITECTURE. 


Fergusson,  Hist.  Arch.,  Vol.  i,  p.   243. 
Knight,  Pict  Gal.  Arts,  Vol.  i,  pp.  230-5; 

Vol.  2,  p.  27. 
Nicholson,    Enc.    Arch.,    Vol.    i,   pp. 

97-8. 
Fei.ton,  Anc.  Greece,  Vol.  2,  p.  139. 
Murray,  Hist.  Greek  Sculp.,  Vol.  i,  pp. 

235-52. 
Reber,  Hist.  Anc.  Art,  p.  224. 


Perry,  Greek  and  Roman  Sculp.,    pp. 

215-22. 
Enc.  Brit,,  Vol.  23,  p.  291. 
Stuart,  Antiq.  Athens,  pp.  94-102. 
Word.sworth,  Greece,   pp.    148-9,  318- 

21. 
GwiLT,  Enc.  Arch.,  pp.  67,  815-21. 
Aberdeen,  Grecian  Arch.,  pp.  71-3. 
LuEBKK,  Hist.  Art,  Vol.  i,  pp.  152-3. 


6.  The  finest  specimen  of  the  Doric  style  —  the  Par- 
thenon of  Athens;  the  building-  and  sculpture;  statue  of 
Athena;  the  Panathenaic  frieze;  the  groups  in  the  pedi- 
ments; the  reliefs  of  the  metopes. 


Fergusson,  Hist.  Arch.,  Vol.  i,  pp.  243, 

260,  263-4;  The  Parthenon. 
Luerke,  Hist.  Art,  Vol.    i,  pp.    154-5, 

159-60;   Mon.    Art,   Vol.    i,   pis.    i,    3, 

text  pp.  45.  51-3- 
Knight,  Pict.   Gal.   Arts,  Vol.  2,  II.   p. 

24,  text  p.  27. 
Stuart,  Antiq.  Athens,  pp.  47-56. 
Nicholson,  Enc.  Arch., Vol.  i,  pp.  296-7. 
Wordsworth,  Greece,  pp.  128-33,  135- 

7.  139-43. 
Perry,  Greek   and   Roman  Sculp.,  pp. 

242-3C0. 
Felton,  Greece,  Vol.  2,  pp.  141-5. 
St.  John,  Greece,  Vol.  i,  pp.  81-91. 
Guhl,  Greeks  and  Romans,  pp.  25-30. 
GwiLT,  Enc.  Arch  ,  pp.  62,  66. 


Koehler,  Hist.  Art,  pi.  8. 

CuRTius,  Hist.  Greece,  vol.  2,  pp.  607-9, 

613-^5,  627-30,  632-41. 
Falkk,  Greece  and  Rome,  pp.  151-3. 
J.i.OYD,  Age  of  Pericles,  Vol.  2,  pp.  164- 

85. 
Barthei.emy,    Anacharsis,    Vol.    2,    pp. 

428-42. 
Shepard,    Great   Cities   of  the   Ancient 

World,  pp.  92-106. 
Reber,  Hist.  Anc.  Art,  pp.  223-6. 
Enc.  Brit.,  Vol.  3,  pp.  4-7;   Vol.  2,  pp. 

62-3;  Vol.  18,  pp.  209-10. 
Taine,  Art  in  Greece,  pp.  178-88. 
Smith  and  Slater,  Classic  Arch.,   pp. 

88-iQi. 


7.     The  various  theories  of  the  origin,  respectively, 
of  the  Doric  and  of  the  Ionic  architecture. 


HISTORY  OF  ARCHITECTURE. 


»59 


Ferg'Jsson,  Hist.  Arch.,  Vol.  i,  pp.  no- 
il, 232-6,  242,  245-6. 

Knight,  Pict.  Gal.  Arts,  Vol.  2,  text  pp. 
22-3,  38. 

RosENCARTEN,  Arch.  Styles,  p.  76. 

Aberdeen,  Grecian  Arch.,  pp.  27-32, 
62-6,  75-81. 


Nicholson,  Enc.  Arch.,  Vol.  i,  pp.  300-2. 
Leeds,  Orders,  pp.  9-10. 
ViTRUVius,  Gwilt's  ed.,  pp.  80-1,  86-90 
Gwii.T,  Enc.  Arch.,  pp.  57,  61. 
Violi.et-i,e-Duc,    Discourses   on   Arch , 
Vol.  I,  pp.  36-79. 


8.  The  characteristic  features  of  the  Ionic  architec- 
ture stated,  in  contrast  to  those  of  the  Doric;  origin  of 
the  use  of  caryatides  and  telamones. 


Fergusson,  Hist.  Arch.,  Vol.  1,  pp.  253- 

6,  258-9. 
Luebke,    Hist.   Art,  Vol.    i,  pp.    139-44, 

238  9;  Hist.  Sculp.,  Vol.  I,  p.  160. 
Knight,  Pict.  Gal.  Arts,  Vol.  2,  text  pp. 

30.  35- 
RosKNGARTKN,  Arch.  Styles,  pp.  76-81. 
Leeds,  Orders,  pp.  31-45. 
WiNCKEl.MANN,    Anc.    Art,  Vol.    2,    pp. 

282-3,  294. 
VlTRUVius.Gwilt'sed.,  pp. 73-8,  81-2,92-4. 
Aberdeen,  Grec.  Arch.,  p.  81. 
Nicholson,  Enc.  Arch.,  Vol.  2,  pp.  18-20. 


Gwii.r,  Enc.  Arch.,  pp.  61,  700-1. 
Gu'Hi.,  Greeks  and  Romans,  pp.  9-10. 
Parker,  Glos.  Arch.,  Vol.  i,  pp.   267-8. 
KoEHi.ER,  Hist.  Art,  pis.  7-10. 
Perrv,  Greek  and    Roman    Sculp.,    pp. 

316-17. 
Sievenson,    House    Arch.,    Vol.    i,    pp. 

187-90. 
VioLi.El-LE-Duc,    Discourses    on  Arch., 

Vol.  I,' pp.  79-82.     ■ 
Clement,  Hist.  Arch.,  p.  59. 
Smith  and  Si.atkr,  Classic  Arch.,  pp. 

102   II. 


9.  The  Ionic  style;  specimens  of  which  we  have  any 
satisfactory  account:  temple  of  Juno  at  Samos;  temple  of 
Dijna  at  Ephesus;  temple  on  the  river  Ilyssus;  temples 
of  jMinerva  Po'lias,  of  Erechtheus,  and  of  the  Wing-less 
Victory  (Nike  Apteros)  at  Athens. 


Fergusson,  Hist.  Arch,  Vol.  i,  pp.  245, 

265-9. 
Ll'KBKE,    Hist.    Art,  Vol.    i,  pp.    150  i, 

157-9;  Mon.   Art,   Vol     2,   j)!.    14,   text 

PP-  5''53- 
RoseN(;arten,  Arch.  .Styles,  i)p.  62,  loi. 


Kmgih,  Pict.  Gal.  Arts,  Vol.  2,  II.   pp. 

24,  28,  text  pp.  30  I. 
Stuart,  Antif].  Athens,  pp.  22-5,  57-73. 
BiRY,  Arch.  Styles,  pp.  14-15. 
Ci.emknt,    Hist.   Arch.,   pp.   54  7,  60-1, 

64  7. 


i6o 


HISTORY  OF  ARCHITECTURE. 


Nicholson,  Enc.  Arch.,  Vol.  2,  pp.  20-1. 
Leeds,  Orders,  pp.  45-6. 
Wordsworth,  Greece,  pp.  143-5. 
St.  John,  (ireece.  Vol.  i,  pp.  80-1. 
Aberdeen,  Grecian  Arch,  pp.  81-7. 


GUHL,  Greeks  and  Romans,  pp.    18-20, 

38-9,  45-7. 
Gwii.T,  Enc.  Arch.,  pp.  67-9. 
Koehler,  Hist.  Art,  pi.  12. 


10.     Origin  and  characteristic  features  of  the  Corin- 
thian architecture. 


Ferc.usson,    Hist.    Arch.,    Vol.    i,     pp. 

246  7. 
LUEBKi.,  Hist   Art,  Vol.  I,  pp.  144-5. 
Knic.ht,  Pict.  Gal.  Arts,  Vol.  2,  text  pp. 

3»-5- 
RosENGARTEN,  Arch.  Styles,  pp.  81-5. 

Leeds,  Orders,  pp.  55-64. 
Nicholson,    Enc.   Arch.,   Vol.    i,   pp. 
200-3. 


Parker,  Glos.  Arch.,  Vol.  i.  p.  45. 
ViTRUVius,  Gwiit's,  pp.  82-3. 
GwiLT,  Enc.  Arch.,  pp.  61-2. 
Aberdeen,  Grecian  Arch.,  pp.  87-9. 
Smith  and  Slater,  Classic  Arch.,  pp. 

1 1 2-6. 
Stevenson,    House   Arch.,    Vol.   i,   pp. 

190-2. 


II.  The  Corinthian  style:  the  few  Grecian  temples 
of  this  order,  of  which  there  still  remain  interesting 
ruins  —  temple  of  Jupiter  Olympius  at  Athens;  Tower  of 
the  Winds  at  Athens;  monument  of  Lysicrates  at  Athens. 


Fergi'SSON,    Hist.    Arch.,    Vol.    i,    pp. 

256-8,  270-1. 
LuEBKE,  Hist.  Art,  Vol.  i,  p.  163;  Mon. 

Art,  Vol    I,  pi.  15;  text  pp.  55-6. 
Knight,  Pict.  Gal.  Arts,  Vol,  2,  11.  pp. 

25,  33;  text  p.  31. 
Leeds,  Orders,  p.  61. 
GuHi.,  Greeks  and  Romans,  pp.  105-6. 


Stuart,  Antiq.  Athens,   pp.  26-41,  103- 

10. 
Wordsworth,  Greece,  pp.  146-7.  , 
Aberdee.n,  Grecian  Arch.,  pp.  89-93. 
Gwii.T,  Enc.  Arch.,  pp.  68-70. 
Nicholson,    Enc.    Arch.,    Vol.    i,   pp. 

203-4. 
Koehi.er,  Hist.  Art,  pi.  15. 


12.  Combination  of  the  different  orders  in  some  of 
the  Grecian  temples,  as  in  the  temple  of  Minerva,  at 
Tegea,  and  in  the  Erechtheion,  at  Athens. 


HISTORY  OF  ARCHITECTURE. 


i6i 


Aberdeen,   Grecian  Arch.,    pp.   89-90,       Luebke,  Hist.  Art,  Vol.  i,  pp.  162-6. 
91-4. 

13.     The  Dionysiac  theatre;  the  Greek  drama;  scen- 
ery and  actors. 


Wordsworth,  Greece,  pp.  156-7. 
Felton,  Anc.  Greece,  Vol.  i,  pp.  504-11. 
Glhl,  Greeks  and  Romans,  pp.  122-45. 
CuRTius,  Hist.  Greece,  Vol.  2,  pp.  576. 
Barthelemy's  Anarcharsis,  Vol.  2,  pp. 
485-9- 


Sergeant's  Greece,  p.  44. 

Falke,  Greece  and  Rome,  p.  172. 

Enc.  Brit.,  Vol.  3,  p.  3;  Vol.  7,  p.  247; 

Vol.  7,  pp.  403-9  (Drama);  Vol.  23,  p. 

222  (Theatre). 


14.     General  account  of  the  decorations  in  Grecian 
architecture;  practical  inferences  on  style. 


Fergusson,  Hist.  Arch,  Vol.  i,  pp.  253,       Gwii.T,  Enc.  Arch,  p.  71. 

255,  258-9,  265-7. 
Luebke,   Hist.    Art,  Vol.   i,  pp.   137-9, 

Mon.  Art,  Vol.  i,  pi.  15 a,  text  p.  58-9. 
VlTRUVius,  Gwilt's,  pp.  68-78,  84-6. 
RosENGARTEN,    Arch    Styles,    pp.    71-3, 

80-1,  84-5,  87-92,  93-4. 


E1DI.ITZ,  Nature  of  Art,  pp.  330-81. 
Ci-EMENT,  Hist.  Arch.,  pp.  65-7. 
Smith  and  Slater,  Classic  Arch.,  pp. 

117-37. 
VioLLET-LE-Duc,    Discourses  on  Arch., 
Vol.  I,  pp.  175-86. 


l62 


HISTORY  OF  ARCHITECTURE. 


V.    ARCHITECTURE  OF  ANCIENT  ROME. 


I       Some   account    of    the    early   peoples   of    Italy, 
especially  of  the  Etruscans;  religion  of  the  Etruscans. 


Fer(;usson,    Hist.    Arch.,    Vol.     i,    pp. 

279-81. 
LuEHKE,  Hist.  Art,  Vol.  i,  pp.  258  60. 
MoMMSEN,  Hist.  Rome,  Vol.  i,  pp.   166- 

76,  264-7,  314-5.  609-12. 
RosENGARTEN,  Arcli.  Styles,  pp.  102-3. 


Rawlinson,  Religions  of  the  Anc.  World, 

PP-  159-75- 
Den.nis,  Cities  and  Cemeteries  of  Etruria, 

Vol.  I,  LIH-LX  (Introduction). 
Smith  and  Slater,  Classic  Arch.,  pp. 

138-40. 


2.  The  architecture  of  Etruria  and  of  Rome  during 
the  reigns  of  the  three  Etruscan  kings,  the  Tarquins;  the 
religion  of  the  ancient  Romans. 


Fergusson,  Hist.  Arch.,  Vol.  i,  pp.  281- 

9''  293. 
LuK.itKE,  Hist.  Arch.,  Vol.  i,  pp.  261-4, 

275-7;  Mon.   Art,  Vol.    i,  pi.  24,   text 

pp.  86-90. 
Rosengarten,  Arch.  Styles,  pp.  103-n. 
Bury,  Arch    Styles,  pp.  16-17. 
Mommsen,  Hist.  Rome,  Vol.  i,  pp.  311- 

2,  603-4. 


Gwilt,  Enc.  Arch.,  pp.  75-6. 
Rawi.inson,  Religions  of  the  Anc.  World, 

pp.  213-24. 
Clement,  Hist.  Arch.,  pp.  71-4. 
Smith   &    Slater,    Classic   Arch.,    pp. 

141  4. 
Clarke,    Ten    Great  Religions,  Vol.   i, 

PP-  316-354- 
Tuckerman,  Hist.  Arch.,  pp.  68-71. 


3.  Excessive  ambition  of  the  Romans,  during  the 
early  centuries  of  the  republic,  to  collect  works  of  art 
from  conquered  cities,  though  destitute  of  all  original  or 
even  imitative  art  among  themselves. 


HISTORY  OF  ARCHITECTURE.  163. 

MoMMSEN,  Hist.  Rome,  Vol.  3,  pp.  568-       Ff.rgussox,  Hist.  Arch,  Vol.  i,  p.  293. 

9,  Vol.  4,  pp.  734-5.  ViOLLET-i.E  Due,   Discourses  on  Arch., 

LUEBKE,  Hist.  Art,  Vol.  i,  pp.  273-5.  Vol.  i,  pp.  62-71. 

4.  General  account  of  the  great  building  industry 
during  the  empire;  the  variety,  abundance  and  grandeur 
of  the  engineering  and  architectural  works  at  Rome,  in 
Gaul  and  in  Spain. 

Fergusson,    Hist.    Arch.,    Vol.  i,    pp.        Eschenberg,  Man.  Clas.  Lit.,  pp.  427-8. 

294,   297-8.  BiRN,  Rome  and  Campagna,  p.  LXXIX. 

Merivai.e,    Hist.    Romans,    Vol.  4,  pp.       Smith  and  Si.ater,  Classic  Arch  ,  pp. 

390-4.  144-6. 
Bury,  Arch  Styles,  pp.  18-19. 

5.  Roman  aqueducts,  public  fountains,  basins  and 
baths. 

Fergusson,  Hist.  Arch,  Vol.  i,  pp.  331-  Eschenberg,  Man.  Clas.  Lit.,  pp.  428-9. 

4>  373~4-  ViOLi.ET-i,E-Duc,    Discourses  on   .Vrch., 

LuEBKE,    Hist.   Art,   Vol.    i,  pp.   296-7;  Vol.  I,  pp.  114-20, 

Mon.  Art.  Vol.  i,  pi.  28,  text  p.  102-3.  Audsi.kv,   Diet.  Arch.,  art.  "Aqueduct," 

Knight,  Pict.  Gal.  Arts,  Vol.  2,  text  pp.  "Baths." 

50-1.  Parker,  Archteol.  of  Rome,  pt.  8,  The 

GvVH.T,  Enc.  Arch,  pp.  92-3,  96-8.  Aqueducts.  —  Arch.    Hist.    Rome,  pp. 

Guiu.,   Greeks  and    Romans,   pp.  353-7,  93-121. 

396-406.  Clement,  Hist.  Arch.,  pp.  8o-i. 

Nicholson.  Enc,  Architecture.  Smith  and  Slater,  Classic  Arch.,  pp. 

Burn,  Rome  and  Campagna,  pp.  LVIII-  161 -4. 

LXIII  (Introduction),   211   (see  index). 

6.  Roman  roads  and  bridges;    tunnels  and  harbors. 


Fergusson,    Hist.    Arch.,    Vol.    i,    pp.       Rosengarten,  Arch.  Styles,  pp.    143-4. 

374-5.  Guii.r,  Enc.  Arch.,  pp   90-2. 

GuHL,  Greeks  and  Romans,    [>[>.  341-52.  '     Nicholson,  Enc    Architecture. 


i64 


HISTORY  OF  ARCHITECTURE. 


Burn,  Rome  and  Campagna,   pp.   LII- 

LVII  (Introduction). 
Parker,  Arch.  Hist.  Rome,  pp.  79-92. 


Smith  and  Slater,  Classic  Arch.,  pp. 
170^1. 


7.     The  Roman  Forum  and   other  public    places  of 
its  class;  basilicas  and  arcades. 


Fergusson,    Hist.    Arch,    Vol.     i,    pp. 

316-23. 
LuEBKE,    Hist.    Art,  Vol.  i,  pp.  292-3, 

298-9;  Mon.  Art,  Vol.   i,  pi.  29,   text 

pp.  105-6. 
GuHL,  Greeks  and  Romans,   pp.  409-21. 
Knight,  Pict.  Gal.  Arts,  Vol.  2,  text  p. 

43- 
GwiLT,  Enc.  Arch.,  pp,  90-1,  109. 
Burn,  Rome  and  Campagna,  pp.  74-153, 

165-7. 


RosENGARTEN,  Arch.  Styles,  pp.  127-30. 
ViOLLET-LE-Duc,    Discourses    on  Arch., 

Vol.  I,  pp.  143-51. 
AuDSLEY,    Diet.    Arch.,    art.   "Arcade," 

"Basilica." 
Parker,  Archseol.  of  Rome,  pt.  5,  The 

Forum. — Arch.      Hist.      Rome,      pp. 

122-36. 
Clement,  Hist.  Arch.,  pp.  78-9. 
Smith  and  Slater,  Classic  Arch.,  pp. 

154-6. 


8.     Circuses,  theaters  and  amphitheaters  —  especially 
the  Colosseum. 


Fergusson,   Hist.    Arch.,   Vol.    i,    pp. 

323-31- 
Nicholson,  Enc.  Architecture. 
Knight,  Pict.  Gal.  Arts,  Vol.  2,  II.  p. 

44,  text  pp.  47-50. 
GuHL,  Greeks  and  Romans,  pp.  421-36. 
Rosengarten,  Arch.  Styles,  pp.  134-41. 
GwiLT,  Enc.  Architecture. 
LuEBKE,   Hist.  Art,  Vol.    i,  pp.  290-2; 

Mon.  Art,  Vol.  i,  pi.  29,  text  pp.  103-5. 
VioLLET-LE-Duc,    Discourses   on  Arch., 

Vol.  I,  pp.  125-33. 


Burn,  Rome  and  Campagna,  pp.  LXIII- 
LVII    (Introduction);    234-42,    296-8, 

457-9 

Parker,  Archaeol.  of  Rome,  pt.  7,  The 
Colosseum  —  Arch.  Hist.  Rome,  pp. 
151-61. 

Tuckerman,  Hist.  Arch.,  pp.  76-9. 

AuDSLEY,  Diet.  Arch.,  art.  "Amphi- 
theatre." 

Smith  and  Slater,  Classic  Arch.,  pp. 
156-64. 


9.     Monuments  of  honor  —  triumphal  arches,  memo- 
rial columns  and  tombs. 


HISTORY  OF  ARCHITECTURE. 


165 


Fergusson,    Hist.    Arch.,    Vol.     i,    pp.       Gwii.t,  Enc.  Architecture. 


335-7.  340-62. 
KoEHLER,  Mist.  Art,  pis.  16,  19. 
K.NiGHT,  Pict.  Gal.  Arts,  Vol.  2,  II.  p.  36, 

text  p.  50. 
GuHL,  Greeks  and  Romans,   pp.  375-96. 
RosENG.\RTEN,  Arch.  Styles,   pp.    130-2. 
LUEBKE,    Hist.    Art,  Vol     i,  pp.  294-9", 

Mon.  Art,  Vol.  i,  pi.  28,  text  pp.  99- 

102. 


Blrn,  Rome  and  Campagna,  pp.XXXIX^ 
XLV    (Introduction),      167-9,      i7''-3i 

434-S- 
Viollet-le-Dltc,   Discourses    on    Arch., 

Vol.  I,  pp.  1 10-2. 
Clement,  Hist.  Arch.,  pp.  81-3. 
Smith  and  Slater,  Classic  Arch.,  pp, 

I 7 1-4. 


10.  The  characteristics  of  the  old  Roman  worship 
determining-  the  form  of  their  temples;  the  temple  of  the 
Capitoline  Jupiter;  temple  of  Fortuna  Virilis. 


Fergusson,    Hist.    Arch.,   Vol.    i,    pp. 

305-9- 
DiRLY,  Hist.  Rome,   Eng.  ed.,  Vol.    i, 

pp.  79-80,  131-2,  271. 
ESCHENHERG,  Manual  Clas.  Lit.,  p.  233. 


GuHL,    Greeks    and    Romans,    pp.    297- 

302,  309. 
GwiLT,  Enc.  Arch.,  p.  75. 
Smith  and  Slater,  Classic  Arch.,  pp. 

147-8. 


II.  The  Roman  temple  at  Nismes;  the  temple  of 
the  Sun  and  the  temple  of  Jupiter  at  Heliopolis  [Baal- 
bec];  the  temple  of  the  Sun  at  Palmyra. 


Fergusson,    Hist.   Arch.,   Vol.    i,    pp. 

307-8,  314-5. 
LuEiiKE,  Hist.  Art,  Vol.  i,  p.  287. 
Knight,  Pict.  Gal.  Arts,  Vol.  2,  text  pp. 

43  6. 
GwiLT,  Enc.  Arch.,  pp.  81-2,  911-2. 


GuHL,    Greeks    and    Romans,    pp.    311, 

314  5,  327-8. 
NiClKJi.soN,  Enc.  Architecture. 
Smith  and  Slater,  Classic  Arch.,  pp. 

149-51- 
TucKERMAN,  Ilist.  Arch.,  pp.  75-7. 


12.  The  Roman  round  temples:  the  temple  of 
Vesta,  at  Tivoli;  the  temple  of  Vesta  (Hercules)  at 
Rome;  the  Pantheon  at  Rome. 


i66 


HISTORY  OF  ARCHITECTURE. 


Fercusson,  Hist.  Arch.,  Vol.  i,  pp.  309- 

12. 
LUEBKE,  Hist.  Art,  Vol.  1,  pp.  284-6. 
Knic.ht,  Pict.  Gal.  Arts,  Vol.  2,  text  pp. 

33.  46. 
GuHi.,  Greeks  and  Romans,  pp.  319-24. 
Burn,  Rome  and  Campagna,  pp.  290-1, 

390- 

RosENGARTEN,  Arch.   Styles,  pp.  121-3. 


GwiLT,  Enc.  Arch.,  pp.  86-8. 
Nicholson,  Enc.  Architecture. 
KoEHLER,  Hist.  Art,  pi.  17. 
ViOLLET-LE-Drc,    Discourses   on    Arch., 

Vol.  I,  pp.  106-10. 
Clement,  Hist.  Arch.,  pp.  76-8,  89. 
Smith  and  Slater,  Classic  Arch.,    pp. 

I 5 1-4,  164-70. 


VI.     EARLY  CHRISTIAN,  BYZANTINE,  AND  ROMANESQUE 
ARCHITECTURE. 


I.  Early  Christian  basilicas  in  what  respects  differ- 
ent from  the  pagan  basilicas.  Selected  examples :  St.  Paul's 
and  St.  Lorenzo's  outside  the  walls,  and  St.  Clement's 
and  Sta.  Maria  Maggiore  in  the  city  of  Rome;  St. 
Apollinare  in  Classe,  at  Ravenna. 


Fergusson,  Hist.  Arch.,  Vol.  i,  pp.  407- 

9.415- 
RosENGARTEN,  Arch.  Styles,   pp.  163-5, 

170-2. 
LuEHKE,    Ecclesiastical    Art,     pp.     1-9; 

Hist.  Art,  Vol.   i,  pp.  342-50,  446-51; 

Mon.  Art,  Vol.  i,  pi.  34. 
Knight,  Pict.  Gal.  Arts,  Vol.  2,  text  pp. 

63-4- 
Gwii.T,  Enc.  Arch.,  pp.  109-10.  - 

Nicholson,  Enc.  Arch.,  Vol.  i,  pp.  29- 

30. 
Zekffi,  Hist.  Dev.  Art,  pp.  277-9. 
Blrv,  Arch.  Styles,  pp.  20-2. 


Scott,  English   Church  Arch.,  pp.  4-7, 

1 7-20. 
Goodrich,  Hist.  Art,  pp.  72-9. 
Reber,  Mediaeval  Art,  pp.  16-36. 
•  Freem.an,  Hist,  and  Arch.  Sketches,  pp. 

182-216. 
Tuckerman,  Hist.  Arch. ,  pp.  88-92. 
ViOLLET-LE-Drc,    Discourses  on    Arch., 

Vol.  I,  pp.  2c8-ii. 
AUDSLEY,   Diet.   Arch  ,   art.    "Basilica." 
Clement,  Hist.  Arch.,  pp.  87-8. 
Smith  and  Slater,  Classic  Arch.,  198- 

206. 


HISTORY  OF  ARCHITECTURE.  167 

2.  Statement  and  description  of  parts  and  functions 
peculiar  to  church  architecture:  presbyterium,  choir,  stalls, 
screen  and  chancel;  altar,  baldachino  and  reredos;  tran- 
sept, chapel,  chantry  and  crypt;  sacristy,  lectern  and 
ambo  or  pulpit. 

RosENGARTEN,  Arch.  Styles,  pp.  165-70.  P.\RKER,  Glos.  Arcliitecture. 

LuEBKE,    Ecclesiastical  Art,  pp.    17-26,  Fairholt,  Die.  Terms  in  Art. 

115-36,  202-26.  At  nsi.EY,    Diet.    Arch.,    art.    "Altar," 

Bury,  Arch.  Styles,  pp.  22-4.  "Ambo,"  ".\pse,"  "Baldachin  " 

GwiLT,  Enc.  Architecture.  Scott,  English  Church  Arch.,  pp.  8-10. 
Nicholson,  Enc.  Architecture. 

3.  Circular  or  multagonal  funeral  chapels,  churches 
and  baptisteries;   St.  Vitale,  at  Ravenna. 

Ferglsson,  Hist.  Arch.,  Vol.  i,  pp  429-  Rosengarte.x,  Arch,  Styles,  pp.  172-3. 

40;  Vol.  2,  pp.  312-5.  AuDSLEY,  Diet.  Arch.,  art.  "Baptistery." 

LiEBKE,   Hist.    Art,  Vol.    i,    pp.  350-1,  Gooorich,  Hist.  Art,  pp.  80-1. 

463  4.  Smith  and  Slater,  Classic  Arch.,  pp. 
Nicholson,  Enc.  Arch., Vol.  i,  j)p.  26-7.  206-9,  215. 

Britton,     Arch.     Antiq.,    Vol.     i,    (see  Reher,  Medireval  Art,  pp.  37-56. 

Essays  on  Round  Churches.)  Tuckerman,  Hist.  Arch.,  j>p.  92-4. 

4.  Cloisters  and  other  monastic  buildings  connected 
with  the  so-called  collegiate  churches. 

Rosk.ngarten,    .\rch.    Styles,    pp.    251,        Nicholson,  Enc.  .\rch..  Vol.  i,  pp.  167- 

257.  ^.   176. 

Li  KKKE,  Hist.  Art,  p.  463.  Bkitton,  Arch.  ,\ntiq..  Vol.  4,  pp.  24-6. 

5.  Byzantine  architecture:  clustered  domes;  vaulted 
ceilings;  massive  piers  and  arches;  peculiar  decoration. 


i68 


HISTORY  OF  ARCHITECTURE. 


Fergusson,    Hist.    Arch.,   Vol.   2,    pp. 

414-43- 
RosENGARTEN,  Arch.  Styles,  pp.  177-9, 

185-90. 
LuKBKE,  Ecclesiastical  Arch.,  pp.  10-15; 

Hist.  Art,  Vol.   i,  pp.  359-63. 
Knight,  Pict.  Gal.  Arts,  Vol.  2,  text  pp. 

55-9- 


Nicholson,   Enc.    Arch.,   Vol.    i,    pp. 

68-71. 
Clement,  Hist.  Art,  pp.  117-9. 
TuCKERMAN,  Hist.  Arch.,  pp.  95-8. 
Viollet-i.e-Duc,  Discourses   on  Arch., 

Vol.  I,  pp.  223-8. 
Smith  and  Slater,  Classic  Arch.,  pp. 

240-51. 


6.  Select  Byzantine  examples :  Church  of  St.  Sophia 
at  Constantinople;  church  of  St.  Mark  at  Venice;  church 
of  St.  Antonio  at  Padua. 


Fergusson,    Hist.    Arch.,    Vol.    2,   pp. 

389-6.'>,  443-50.  422-4. 
RosENGARTEN,  Arch.  Styles,  pp.  179-84, 

258-60. 
LuEBKE,  Hist.  Art,  Vol.  i,  pp.  363-6,  502- 

4;Mon.  Art,  Vol  I,  pi.  35,  text  pp.  122-3. 
Knight,    Pict.  Gal.   Arts,  Vol.    2,  text 

PP-  54-5- 
Clement,  Hist.  x\rt,  pp.  114-6,  119-23. 
Smith  and  Slater,  Classic  Arch.,  pp. 

2II-2I. 


Reber,  Mediaeval  Art,  pp.  56-62. 
Tuckerman,  Hist.  Arch.,  pp.  98-104. 
Nicholson,  Enc.  Arch.,  Vol.   i,  pp.  30 

71-3- 
Blry,  Arch.  Styles,  pp.  24-6,  29-31. 
GwiLT,  Enc.  Arch.,  pp.  107-9,  'M- 
Zerfki,  Hist.  Dev.  Art,  pp.  280  i. 
Norton,   Church  Building   Mid.    Ages, 

pp.  52-61. 
RusKiN,   Stones  of  Venice,  Vol.  2,   pp. 

63-129. 


7.  The  Russo- Byzantine  style  developing  in  the  six- 
teenth century  its  peculiar  bell-towers,  its  high-mounted 
and  bulb-shaped  domes  and  its  other  fantastic  features:  the 
cathedral  of  the  Assumption,  the  churches  of  Vassili 
Blanskenoy  or  St,  Basil,  of  the  Nativity,  and  the  Tower 
of  Ivan  the  Great  at  Moscow. 


RosENGARTEN,  Arch.  Styles,  pp.   193-8.       Fergusson,    Hist.    Arch.,    VoL    2,    pp. 
Kambauu,  Hist.  Russia,  Vol.   1,  p.  309.  481-93. 


HISTORY  OF  ARCHITECTURE.  189 

Curtis,  Land  of  the  Nihilist,  pp.  312-13,       Reber,  Hist,  of  Mediaeval  Art,  pp.  66- 

3«9-  71. 

Chester,  Russia  Past  and  Present,  pp.  Hare,  Russia,  pp.  177-99. 

170-1.  Prime,  Alhambra  to  Kremlin,  pp.  340-3. 

Gallenga,  Summer  Tour  in  Russia,   p.  Reber,  Mediaeval  Art,  pp.  65-71. 

55- 

'  8.  Romanesque  architecture:  cross-vaulted  ceilings 
and  arch  friezes;  cubiform  and  caliciform  capitals  and 
plain  shafts. 

Fergusson,    Hist.    Arch.,    Vol.    i,    pp.  Viollet-le-Duc,    Discourses  on   Arch., 

416-8,  426-8.  Vol.  I,  pp.  229-39. 

Roskngarten,  Arch.  Styles,  pp.  230-8,  Smith  anu  Slater,  Classic  Arch.,  pp. 

243-5.  222-3,  240-45,  250  I. 

Norton,  Church   Building   Mid.    Ages,  Goodrich,  Hist.  Art,  pp.  82-6. 

pp.  20-35.  Tuckerman,  Hist.  Arch.,  pp.  114-24. 
LUEBKE,     Ecclesiastical    .\rt,    pj).    44-9; 

Hist.  Art,  Vol.  I,  pp.  451-5. 

9.  The  Romanesque  facade:    twin  towers;  splayed 
portal  with  decorative  columns;  wheel  window,  etc. 

Fergusson,    Hist.    Arch.,  Vol.     i,    pp.  Goodrich,  Hist.  Art,  pp.  86-9. 

424,430-1;  Vol.  2,  pp.  315-6.  Smith  a.nd  .Si.atek,  Classic  Arch,  pp. 

Roskngarten,  Arch.  Styles,  pp.  238-40,  245-6. 

255.  Tuckerman,  Hist.  Arch.,  124-7. 
LfEBKK,    Ecclesiastical    .\rt,    pp.   38-42; 

Hist.  Art,  Vol.  i,  pp.  455-6. 

10.  Romanesque  decoration:    sculptured  ornaments 
on  cornices,  capitals,  bases  and  shafts. 

Fergusson,  Hist.  Arch  ,  Vol.  I,  j)p.  422-  Luebke,    Ecclestical    Art,     pp.    27-38; 

4.  Hist.  Art,  Vol.  I,  pp.  460-2, 

Roskngarten,  Arch.  Styles,  pp.  241-3,  Smiiii  and  Skater,  Cla.ssic  .\rc]i.,  pp. 

245-50.  246  50. 


170 


HISTORY  OF  ARCHITECTURE. 


II.  Select  Romanesque  examples  in  central  Italy: 
the  baptistery  and  the  church  of  San  Miniato  at  Flor- 
ence; church  of  San  Michele  at  Lucca;  cathedral  of 
Pisa. 


Fkrgusson,    Hist.    Arch.,    Vol.    2,    pp. 

370-4 
Ll'EBKE,  Hist.    Art,   Vol.    i,   pp.   495-9; 

Mon.  Art,  Vol.  i,  pi.  42,  text  pp.  143-4. 
RosENGARTEN,  Arch.  Styles,  pp.  253-5. 
Knight,  Pict.  Gal.  Arts,Vol.  2,  text  p.  67. 


Nicholson',  Enc.  Arch.,  Vol.  2,  p.  112. 
Bury,  Arch.  Styles,  pp.  30-2. 
Rebek,  Mediaeval  Art,  pp.  322-35. 
Freeman,  Hist,  and  Arch.  Sketches,  pp. 
87-134. 


12.  Select  Romanesque  examples  in  Lombardy: 
cathedral  of  Modena;  church  of  San  Zeno  at  Verona; 
cathedral  of  Parma. 


Fergusson,  Hist.  Arch.,  Vol.  2,  pp.  309-  Nicholson,    Enc.    Arch.,    Vol.   2,    pp. 

12.  1 12-3. 

Rosengarten,  Arch.  Styles,  pp.  260-2.  Freeman,  Hist,  and  Arch.  Sketches,  pp. 

LiEBKE,    Hist.  Art,  Vol.   i,  pp.    505-7;  15-25,  247-59. 

Mon.  Art,  Vol.  I,  pi.  41,  text  p.  142.  Reher,  Mediaeval  Art,  pp.  309-22. 

Knight,  Pict.  Gal.  Arts,  Vol.  2,  text  pp.  Smith  and  Slater,  Classic  Arch.,  pp. 

66-7.  224-5. 


13.  Select  Romanesque  examples  in  Germany  and 
France:  church  of  Holy  Apostles  at  Cologne;  church  of 
St.  Saturnin  at  Toulouse;  churches  of  Ste.  Trinite  and  of 
St.  Stephen  at  Caen. 


Fergusson,    Hist.    Arch.,  Vol.    i,    pp.       King,  Med.  Arch.,  Vol.  1,  pis.  88-9. 

4745'  5'3-8;  Vol.  2,  pp.  24-5.  Rosengarten,  Arch.  Styles,  pp.  266-71, 

Bury,  Arch.  Styles,  pp.  35-7.  275-7. 


HISTORY  OF  ARCHITECTURE. 


171 


IvEUEK,    Mediaeval    Art,    pp.     250-308, 

335-68. 
LuEBKE,  Hist.   Art,  Vol.   i,   pp.   477-9, 

508-11,  514-6;  Mon.  Art,  Vol.  3,  pis. 

43,46;  text  pp.  147-8,  153,  180-1. 


Knight,  Pict.  Gal.  Arts,  Vol.  2,  text  pp. 

67-71. 
Smith  and  Slater,  Classic  Arch.,  pp. 

225-31. 


14.  The  Romanesque  of  England  or  the  Norman 
style:  Anglo-Saxon  and  other  elements  greatly  distin- 
guishing the  Anglo-Norman  from  the  Romanesque  of 
other  countries  (i 066-1 154  A.  D.) 


Fergusson,    Hist.    Arch.,    Vol.    2,    pp. 

119-23, 125-9, 139-40, 145-8,  IS',  170- 

I,  181- 7. 
Rosengarten,  Arch.  Styles,  pp.  271-5. 
Li  EBKE,  Hist.  Art,  Vol,  1,  pp.  516-8. 
Knight,  Pict.  Gal.  Arts,  Vol.  2,  text  pp. 

82-6. 
Blrv,  Arch.  Styles,  pp.  69-91. 
GwiLT,  Enc.  Arch.,  pp.  164-75. 
Britton,  Arch.  Antiq.,  Vol.  4,  pp.  5-24, 

103-36. 
Paley,  Gothic  Arch.,  54-61. 


Nicholson,  Enc.  Arch.,  Vol.  2,  pp.  234- 
40,  4CO-7. 

Aunsi.EV,  Diet.  Arch.,  art.  "Anglo- 
Saxon  Arch." 

Smith  and  Slater,  Classic  Arch.,  pp. 

232-3- 
Scott,  Mediaeval  Arch.,  Vol.  2,  pp.  1-91. 
—  English  Church  Arch.,  pp.  35-51, 

92-5,  133-9- 
Rebek,    Mediaeval    Art,    pp.    378-88. 
Parker,    Introd.    to   Gothic  Arch.,   pp. 

1-89 — ABC  of  Gothic  Arch.,  pp.  1-70 


15.  Select  examples  of  the  Anglo-Norman  Style: 
Norwich  cathedral;  Canterbury  cathedral;  Winchester 
cathedral;   Chapter  House  at  Bristol. 


Fekgusson,    Hist.    Arch.,    Vol.    2,    pp. 

130-3,  137-8,  172-4. 

LuEBKE,  Hist.  Art,  Vol.  l,  pp.  518-20; 
Mon.  Art,  Vol.  I,  pi.  44,  text  j).  149 

Britton,  Cath.  Antiq.,  "Norwich,"  pis. 
1-24;  text  pp.  18-20,  24  50;  "Hri.stol," 
pis.  3-4,  9;  text  pp.  45-7,  53;  "Win- 
chester," pis.  1-29;  text  pp.  48-9,  54- 
104;  "Canterbury,"  pis.  1-36,  text  pp. 
25-62,  94-9. 


Winkles,  Eng.  Cath.,  Vol.  i,  pp.  17-40, 

121-40;  Vol.  2,  pp.  85-94. 
Scott,  Media'val  Arch.,  Vol.  2,  pp.  92- 

132. — English  Church  Arch.,  pp.  95- 

IIO. 

Smith  and  Slater,  Classic  Arch.,  pp. 

233-9- 
OuR  N.\tionai,  Cathedrals,  Vol.  i,  pp. 

35-58,  153-76. 


172 


HISTORY  OF  ARCHITECTURE. 


VIL    SARACENIC  ARCHITECTURE. 


I.  Characteristics  of  the  faith  and  methods  of  wor- 
ship of  the  Mohammedans  which  greatly  influence  their 
works  of  art. 


RosENGARTEN,    Arch.    Styles,    pp.   199- 

2CX3. 

Lecky,  Rationalism  in  Europe,  Vol.   i, 

pp.  234-6. 
Baxley,  Spain,  Vol.   i,  pp.  19-20;  Vol. 

2.  pp    132-3. 
Lane,    Modern   Egyptians,    Vol.  2,   pp. 

177-81  (d). 
Butler,    Court  Life  in  Egypt,  pp.  38- 

44(d). 


LuBEKE,  Hist   Art,  Vol.  i,  pp.  410-4. 
Lane,  English  Woman  in  Egypt,  Vol. 

pp.    107-15   (b);    pp.     115-16    (c); 

114(b). 

B/EDEKER,   Egypt,   p.    140. 

Ebers,  Egypt,  Vol.  2,  p.  109. 
Clement,  Hist.  Arch.,  pp.  123-6. 
Clarke,    Ten  Great  Religions,  Vol. 
pp.  448-88. 


2.  General  suggestions  for  the  study  and  observation 
ofarchitectural  examples  in  Islam  —  absence  of  constructive 
skill  and  completeness;  little  unity  or  harmony  of  design; 
as  many  different  styles  as  there  are  nations  in  Islam. 


RosENGARTEN,  Arch.  Styles,  pp.  226-9. 
Fergusson,  Hist.  Arch.,  pp.   497-500. 
TuCKERMAN,  Hist.  Arch.,  pp.  105-9 


Smith  and  Slater,  Classic  Arch.,  pp. 

252-3,  268. 
Reber,  Mediaeval  Art,  pp.  155-8. 


HISTORY  OF  ARCHITEC  1 URE.  175 

3.  The  special  characteristics  and  requirements  in 
the  Mohammedan  mosque:  the  Mihrab  or  hall  of  prayer; 
the  court  and  tank  for  ablution  before  prayer;  the  minaret 
for  proclamation.  Stilted,  horse-shoe  and  keel-shaped 
arches;  scalloped  or  cusped  arches;  stalactite  or  honey- 
comb pendentives;  filigree  and  interlaced  ornament. 

Fergusson,    Hist.    Arch.,   Vol.    2,    pp.  Gwii.t,  Enc.  Arch.,  pp.  54-6. 

465-6.  Knight,  Pict.  Gal.  Arts,  Vol.  2,  text  pp. 
LiEBKE,  Hist.  Art,  Vol.  i,  pp.  414-7.  62-3. 

R<)SEN(;arte.n,  Arch    Styles,  pp.  200-3.  P.\rker,  Glos.  Arch.,  Vol.  i,  pp.  32-4. 

NiCHOLso.N,    Enc.    Arch.,  Vol.    2,    pp.  Audsi.ey,  Diet.  Arch.,  art.  "Arch." 

208-10.  Reber,  Mediaeval  Art,  pp.  161-4. 

4.  Peculiar  style  of  mural  decoration  in  Saracenic 
architecture;  arabesque  patterns  and  mosaic  and  geometric 
ornaments;  play  of  lines,  belts  and  vegetable  forms,  all 
symbols  and  animal  likeness  being  reprobate;  ingenious 
avoidance  of  right  angles,  diagonals  and  all  geometric 
curves;  the  use  of  text  characters  and  brilliant  colors  in 
decoration. 

Lane-Fooi.e,   Art  of  the   Saracens,    pp.  Knight,    Pict.    Gal.    Arts,    II.    pp.    60, 

89  125.  64,  69. 

Li'KHKK,  Hist.  Arch,  Vol.  i,  pp.  417-6.  Audsi.ey,  Diet.  .\rch.,  art.  "Arabesque,'' 

Ro.sEN(;.\RTEN,   Arch.  Styles,  pp.    203-6,  ".Vrah  ornament," 

226-9.  Smith  and  Slater,  Classic  Arch.,  pp. 

Nicholson,    Enc.    Arch.,    Vol.    2,    pp.  258-60. 

210-1.  Rebkk,  Medieval  Art,  pp.  164-6,  195-8. 
Parker,  Glos.  .Vrch.,  Vol.  i,  pp.  30-2. 

5.  In  Egypt  the  depressed  pointed  arch  prevails  in 
Saracenic   architecture.     Select   examples    in  Cairo:   the 


174 


HISTORY  OF  ARCHITECTURE. 


mosque  of  Ibn  Touloun;  the  mosque  of  the  Sultan  Bar- 
kook  and  the  tombs  of  the  Mamelukes;  the  mosque  of 
Sultan  Hassan;  the  mosque  and  tomb  of  Kait-Bey;  the 
palaces   of  Choubra   and  of  Gezireh. 


Charmes,  Five    Months   in  Egypt,    pp. 

116-131,  103-115. 
Lane,  Modern  Egyptians,    Vol.    i,    pp. 

100-112. 
Ebers,  Egypt,  Vol.  i,   pp.  311-14;   Vol. 

2,  pp.  198,  208,  217,  229,  270  84. 
Hale,  A  Family  Flight  over  Egypt  and 

Syria,  p.  222. 
Baedeker,  Egypt,  pp.  183-5. 
Bartlett,  1  he  Nile  Boa:,  chap.  3. 
ZiNCKE,  Egypt  of  the  Pharoahs  and  of 

the  Khedive,  pp.  458  71. 
Lank  Poole,  Art   of  the  Saracens,  pp. 

49-72. 
Murray,  Egypt,  pp.  232-4 (a);  216-17. 


Ebers,  Egypt,  Vol.  i,  pp.  226,  241. 
Fergusson,    Hist.    Arch.,    Vol.  2,    pp. 

507-17. 
Luebke,  Hist.  Art,  Vol.    1.    pp.  420-3; 

Mon.  Art,  pi.  39,  text  pp.  136-9. 
Rosengarten,    Arch.    Styles,    pp.    261, 

215-7- 
Knight,  Pict.  Gal.  Arts,  II.  p.  61. 
Poole,  Art  of  the  Saracens   in   Egypt, 

pp.  47-75- 
Reber,  Mediaeval  Art,  pp.  166-9. 
AUD;;:.EV,  Diet.  Arch.,  art.  "Arab  arch." 
Smith  and  Slater,  Classic  Arch.,  pp. 

253-8, 


6.  In  India  and  Persia  the  horse-shoe  arch  prevails 
in  Saracenic  architecture.  Select  examples:  the  mosque 
at  Old  Delhi;  the  Jumma  mosque  at  New  Delhi;  the 
mosque  at  Futtepore  Sikri;  the  palace  at  Delhi;  Taje 
Mehal  at  Agra. 

Luebke,  Hist     Art,  Vol     i,  pp.  437-9;  Rosengarten,  Arch.  Styles,  pp.  221-4. 

Mon.  Art,  pi.  40,  text  pp.  139-40.  Smith  and  Slater,  Classic  Arch.,  pp. 

Koeiiler,  Hist.  Art,  pi.  48.  265-9. 

Fergi'sson,    Hist.    Arch.,    Vol.    3,    pp.  Reber,  Mediieval  Art,  pp.  172-7,  193-5. 

578-81,  591-9,  600-2. 


7.     In    Spain,    the    keel-arch    prevails    in  Saracenic 


HISTORY  OF  ARCHITECTURE. 


175 


architecture.     Select  examples:    the  mosque  at  Cordova; 
the  Alhambra  at  Granada. 


Fergusson,  Hist.  Arch.,  Vol.  2,  pp.  278, 

522-36. 
LuEuiCE,   Hist.   Art,  Vol.   i,  pp.  424-33; 

Mon.  Art,  pi.  38,  text  pp.  132-6. 
RosENGARTEN,  Arch.  Styles,  pp.  206-14. 
Gwii.T,  Enc.  Arch.,  pp.  51-4. 
Knkjiit,    Pict.  Gal.   Arts,  II.  pp.    56-7, 

60-1;  text  pp.  59,  62. 


Parker,  Glos.  Arch.,  Vol.  2,  pi.  109. 
Baxi.ey,  Spain,  Vol.  i,  pp.  199-310. 
KoEHLER,  Hist.  Art,  pis.  46-7. 
Clement,  Hist.  Arch.,  pp.  126-32. 
Smith  and  Slater,  Classic  Arch.^  pp. 

263-5- 
Rebek,  Mediaeval  Art,  pp.   178-91. 
Tuckerman,  Hist.  Arch.,  pp.  110-4. 


VIII.    GOTHIC  ARCHITECTURE. 


I.  The  Gothic  style  a  perfect  architectural  system 
developed  from  the  pointed  arch;  the  Gothic  and  the 
Romanesque  systems  of  construction  compared,  especially 
as  to  the  vaults  and  the  supporting  walls. 


Fergusson,    Hist.    Arch.,    Vol.    i,    pp. 

397-8. 
LUEiiKK,  Hist.  Art,  Vol.   2,  pp.  1-6. 
Rosengarten,    Arch.    Styles,    pp.    297- 

300. 
Nicholson,  Enc.  Arch.,  Vol.  1,  pp.  450-2. 
PAr.::ER,  Glos.  Arch.,  Vol.  1,  pp.  238-40. 
RisKiN,  Stones  of  Venice,  Vol.  2,   pp. 

167-54,  or  l>etter  151-230. 
Viollet-LE  Die,    Discourses  on    Arch., 

Vol.  I,  pp.  239-42. 


Garuett,  Arch  Design,  pp.  157-79. 
Stevenson,    House   Arch.,    Vol.  i,  pp. 

127  33- 
Scott,  Medircval  Arch.,  Vol.  i,  pp.  1-68. 

—  English  Church  Arch.,  pp.  124-6. 
Goodrich,  Hist.  Art,  p.  91. 
TiCKERMAN,  Hist.  Arch.,  pp.  132-5. 
Parker,    Introd.    to    Gothic    Arch.,   pp. 

90   1 00. 
1'alev,  Goth.  .\rch.,  pp.  1-27. 


176 


HISTORY  OF  ARCHITECTURE. 


2.  Origin,  varieties  and  early  history  of  the  pointed 
arch ;  was  it  a  constructive  principle  or  merely  an  orna- 
mental form  ? 


Fkrgusson,  Hist.  Arch.,  Vol.  i,  pp.  448- 

53.  506-7- 
I.i  EiiKE,   Ecclesiastical  Art,   pp.   49-50; 

Hist.  Art,  Vol.  2,  pp.  6-7. 
RosENGARTEN,  Arch.  Styles,  pp   285-93. 
Nicholson,  Enc.  Arch.,  Vol.  i,p.  461. 
Garbett,  Arch.  Design,  pp.  157-79. 
GvviLT,  Enc.  Arch  ,  pp.  119-25. 
D'Agincourt,  Hist,  Art,  Vol.   i,  pi.  46. 


AuDSLEY,  Diet.  Arch.,  art.   "Arch." 
Stevenson,    House   Arch.,    Vol.  i,  pp. 

133-7- 
Goodrich,  Hist.  Art,  pp.  92-3. 
Paley,  Gothic  Arch.,  pp.  61-7. 
Scott,  Mediaeval  Arch.,  Vol.  i,  pp.  215- 

27.  —  English     Church     Arch.,      pp. 

126-7. 


3.  Principal  characteristics  of  the  constructive  orna- 
mentation of  Gothic  architecture:  of  the  facade,  portal  and 
spire;  of  the  buttresses;  of  the  clustered  column  and 
vault  or  roof  ribs;  window  tracery  and  glass  painting. 


Fergusson,    Hist.    Arch.,    Vol.    i,    pp. 

458-60,  552-4,  563-82. 
LuKBKE,  Ecclesiastical  Art,   pp.  67-92  ; 

Hist.  Art,  Vol.  2,  pp.  7-16. 
Rosengarten,  Arch.  Styles,  pp.  300-19; 

322-3- 
Nicholson,  Enc.  Arch.,  Vol.  i,  pp.  455- 

6,  462-71. 
Koehler,  Hist.  Art,  pi.  66-8. 
GwiLT,   Enc.    Arch.,    pp.    231-4,  386-7, 

589-90. 
Garbett,   Arch.    Design,    pp.     158-65, 

201-13. 


Gessert,  Painting  on  Glass. 
Winston,  Glass  Painting. 
Scott,  Medieval  Arch.,  pp.  228-89. 
Pugin,  Pointed  or  Christian  Arch. 
Goodrich.  Hist.  Art,  pp.  95-9- 
TucKERMAN,  Hist   Arch. ,  pp   135-47. 
Paley,  Gothic  Arch.,  pp.  74-100,  154-92. 
Stevenson,  House    Arch.,   Vol.    i,    pp. 

137-2. 
Viollet-le-Duc,    Discourses    on  Arch., 

Vol.  I,  pp.  276-80. 
Clement,  Hist.  Arch.,  pp.  94-8. 


4.     Prevailing  elements  of  the  decorative  ornamenta- 
tion   of  Gothic    architecture:     combination    of  vegetable 


HISTORY  OF  ARCHITECTURE.  177 

with    geometric  forms;  the    Gothic    choice    of   plants    in 
England. 


Fergusson,  Hist.  Arch.,  Vol.  i,  pp.  33-5.  Koehler,  Hist.  Art,  pis.  66-9. 

RosENGARTEN,  Arch.  Styles,  pp.  293-6,  Gwilt,  Enc.  Arch.,  pp.  952-4. 

3:9  22.  Clement,  Hist.  Arch.,  pp.  99-102,  106-8. 

Br;:-.  Quar.  Rev  ,  Vol.  10,  pp.  62-5.  Stevenson,  Hous2  Arch  ,  Vol.  i,  p.  142. 

Gardett,  Arch.  Design,  pp.  206-7.  Palev,  Gothic  Arch,,  pp.  101-17. 


5.  The  first  development  of  the  Gothic  system  in 
central  and  northern  France;  the  suggestion  from  Sara- 
cenic architecture,  and  how  obtained. 


Fercjusson,     Hist.    Arch.,    Vol.    i,    pp.  Scott,  Mediaeval  Arch.,  Vol    i,  pp.  69- 

522-7.  136  —  English     Church     Arch.,     pp. 

Luebke,  Hist.  Art,  Vol.  2,  pp.  17-23.  126  8. 

Rosengarten,  Hist.  Arch.,  p.  341.  Viollet-le-Di'c,    Discourses   on  Arch., 

Gwii.t,  Enc.  Arch.,  pp.  231-4.  Vol.  i,  pp.  260-76. 


6.  The  influence  of  the  society  of  Free  Masons  on 
the  development  of  Gothic  architecture;  the  influence  of 
the  guilds  on  art  in  general. 


Fergi  ssoN,    Hist.     Arch.,    Vol.    i,    pp.       Conway,  Early  Flemish  Painting. 

527-31.  Vi()i.i,ET-i.E-I)i'r,   Discour.ses    on    Arch., 

Rosengarten,  Art  Styles,  pp   289-90.  Vol  i,  pp.  281-2. 


7.  Divisions  of  Gothic  architecture  required  by  the 
degrees  of  its  development  in  different  periods  and 
countries: 


178 


HISTORY  OF  ARCHITECTURE, 


a.  Early  Gothic  or  (in  England)  the  Lancet  or  Plan- 
tagenet  style;  simple  and  severe  with  circle  and  fillet 
traceries. 

h.  Middle  Gothic  or  (in  England)  the  Perfected  or 
Decorated  style;  elegant  enrichment  with  undulating  and 
intersecting  traceries. 

C.  Late  Gothic  or  (on  the  continent)  Flamboyant,  or 
(in  England)  the  Perpendicular  or  Tudor  style;  ogee 
arches,  excessive  embellishment,  roof  ribs  in  fan-shaped 
systems,  open-work  roof-trusses  and  flying  buttresses. 


RosENGARTEN,  Arch.  Styles,  pp.  229-39. 
MuRR.w,  Mod.  London,  pp.  99-102  (e). 
Fergusson,  Hist.  Arch.,  Vol.  2,  pp.  121- 

4.  139-50. 
Steve.nson,    House   Arch.,  Vol.    i,    pp. 

155-70- 


Parker,    Introduction   to   Gothic  Arch. 

—  ABC  of  Gothic  Arch. 
Scott,     Mediaeval    Arch.,    Vol.     i,    pp. 

137-69. — English  Church   Arch.,    pp. 

128-3,  139-141.  172-86- 


8.     The  four  important  typical  cathedrals  of  Gothic 
France :  of  Paris,  of  Chartres,  of  Rheims,  and  of  Amiens. 


Fergusson,   Hist.   Arch.,    Vol.     i,    pp. 

532-42. 
LUEBKE,   Hist.  Art,   Vol.    2,   pp.    18-21; 

Mon.  Art,  Vol.  2,    pis.    50-1,    text   pp. 

164-7. 
Knight,   Pict.  Gal.  Arts,    Vol.   2,  II.   p. 

105,  text  p.  106. 
GwiLT.  Enc.  Arch.,  pp.  234-5. 
King,  Med.   Arch.,   Vol.  3,   pis.   49-60, 

75-88. 
Garbett,  Arch.  Design,  pp.  183-90. 


Koehler,  Hist.  Art,  pis.  69-71. 
D'Agincourt,    Hist.    Art,    Vol.    i,    pis. 

39-41- 
RiCKMAN,  Gothic  Arch.,    Appendix   pp. 

53-4- 
ViOLLET-i,E-Drc,    Discourses    on   Arch. , 

Vol.  I,  pp.  307-12,425-8. 
Reber,  Mediaeval  Art,  pp.  480-516. 
Parker,    Introd,    to    Gothic    Arch,    pp. 

236-6-. 


HISTORY  OF  ARCHITECTURE. 


179 


9.     The  two  great  typical  cathedrals  of  this  style  in 
Germany  :  of  Cologne  and  of  Strasburg. 


Fergusson,  Hist.    Arch.,  Vol.  2,  pp.  57, 

63,  65-8. 
LuEBKE,    Hist.    Art,  Vol.   2,  pp.  27-40; 

Ecclesiastical    Art,    pp.     70  7,    80-1  ; 

Men.  Art,  Vol.  2,   pis.  53-4B,  text  pp. 

172  81. 
Knight,  Pict.   Gal.   Arts,  Vol.  2.  11.  pp. 

108-9,  text  pp.  Ill,  114. 


RosKNGARTEN,  Arch.   Styles,  pp.  355-8. 
G.A.RBETT,  Arch.  Design,  pp.  179-83. 
KoEiii.KR,  Hist.  Art,  pis,  74-6. 
GwiLT,  Enc.  Arch.,  p.  246-7. 
D'Agincourt,  Hist.  Art,  Vol.  i,  pi.  41. 
ElDLlTZ,    Nature    of    Art,     pp.     424-54 

(Cologne) . 
Reher,  Mediaeval  Art,  pp.  534-65. 


10.  Select  examples  in  Spain  and  Portugal:  the 
cathedrals  of  Toledo  and  of  Burgos,  in  Spain;  the  convent 
church  at  Batalha,  and  the  convent  churches  at  Belem  and 
at  Thomar,  in  Portugal. 

LuEBKK,   Hist.   Art,  Vol.    2,   pp.   58-62;       Rosengarte.n,  Arch.  Styles,  p.  370. 


Mon.  Art,  Vol.  2,  pi.  58,  text  p.  i! 
D'Agincourt,  Hist.   Art,  Vol.  i,  pi.  41. 
Fergisson,    Hist.    Arch.,    Vol.    2,    pp. 

260-5,  290-2. 


BaXI.EY,  Spain,  Vol.  2,  pp.  224-7. 
Koehlkr,  Hist.  An,  pis.  83-4. 
Gvvii.T,  Enc.  Arch.,  pp.  250-6. 
Rehek,  Mediat'val  Art,  pp.  582-8. 


1 1.  Select  examples  in  Italy:  the  cathedral  of  Siena; 
the  Duomo  of  Florence;  the  convent  Certosa;  the  cathe- 
dral of  Milan. 


Fergusson,    Ilist.    Arch.,    Vol.    2,    pp. 

328-36,  338-45. 
LuEBKK,    Hist.    Art,   Vol.    2,    pp.    50  8; 

Mon.    Art,    Vol.    2,    pi.    57,    text   pp. 

186-7. 
Knight,  Pict.  Gal.   Arts,  V"oI.  2,  text  p. 

103. 
Rosengartkn,  Arch.  Styles,  pp.  362  8. 
ElDl.lT/.,    Nature    of    Art,     pp.    424-54 

(Milan). 


KoEHLER,  Hist.  Art,  pis.  89-90. 
Gwii.T,  Enc.  Arch.,  pp.  256-60. 
Nicholson,  Enc.  Arch.,  Vol.  2,  p.  43. 
Norton,  Church  Building,  chapters  3-4. 
D'.\(;incourt,  Hist.  Art,  Vol.  i,  pi.  41. 
Symonijs,  Renaissance,  pp.  50-8. 
I5ARRV,  Lcct.  on  Arch.,  pp.  350-65. 
Rf.iikk,  Mediaeval  .\rl,  pp.  565-80. 
Pakki-K,    Introd.   to    Gothic    Arch.,    pp. 

283-5- 


l8o  HISTORY  OF  ARCHITECTURE. 

12.  Peculiarities  of  the  Gothic  Cathedrals  in  Eng- 
land: extreme  length  and  double  transept;  a  Lady  Chapel 
or  an  immense  east  window  instead  of  the  continental 
apsis;  exteriors  generally  severe  and  plain,  but  with 
admirable  proportions;  the  towers  and  spires  central  and 
the  main  roofs  graded  down  by  the  aid  of  associated 
buildings — chapels,  chapter  house,  bishop's  palace,  etc.; 
diversity  of  style  in  the  different  cathedrals;  usual  isola- 
tion by  a  grassy  "close"  and  thrifty  trees. 

Select  examples:  the  cathedrals  of  York,  of  Salis- 
bury, of  Litchfield;  the  chapels  of  St.  George,  at  Windsor, 
of  King's  College,  at  Cambridge,  of  Henry  VIL  at  West- 
minster;   the  new   Parliament  buildings  at   Westminster. 

Fergusson,    Hist.    Arch.,    Vol.    2,    pp.  Scott,  Hist.  English  Church  Arch. 

163-7,  170-71.  Parker,    Introd.    to   Gothic  Arch.,   pp. 

RosENGARTEN,  Arch.  Styles,  pp.  229-39.  101-216. 

Nicholson,  Enc.  Arch.  Barry,  Lect.  on  Arch.,  pp.  366-80. 

Winki.es,  Cath.   Churches  in   Eng.   and  ScOTT,  Mediaeval  Arch.,  Vol.  i,  pp.  148- 

Wules  214. 

Guilt.  Enc.  Arch.  Cathedral    churches   of  England   and 

Our  National  Cathedrals,  pp.   1-34,  Wales. 

6g-ioo. 

13.  The  Gothic  Revival  in  England;  the  restoration 
of  Henry  VII's  Chapel  in  1809;  competition  and  public 
discussion  on  plans  for  the  new  parliament  Buildings,  1 836- 
1840;  interest  excited  by  Ruskin's  critical  works,  "  Modern 
Painters,"  "  Seven  Lamps  of  Architecture,"  and  the 
"  Stones  of  Venice." 


HISTORY  OF  ARCHITECTURE.  l8l 

Eastlake,  Hist  of  the  Gothic  Revival,  The  Nation,  Vol.  14,  pp.  275-6. 

pp.   99-107,    170-86,    264-80,    309-12,  Fergusson,     Hist.    Arch.,   Vol.    4,    see 

359.  index. 

PUGIN,    Revival    of    Christian    Arch,    in  Cathcjuc  Wokld,  Vol.  25,  pp.  639-50. 

England. 


IX.    RENAISSANCE  ARCHITECTURE. 


For  discussion  of  the  topics  under  this  head,  consult,  above  all,  Ruskin's  works. 


1.  General   discussion  of  Renaissance   architecture. 

Fergusson,    Hist.     Arch.,     Vol.    4,    pp.  Symonds,  Renaissance,  pp.  67-72,  78-81. 

i-io,  144-5.  Ste\'ens<)N,    House    Arch.,  Vol.    i,    pp. 

Luebke,  Hist.  Art,  Vol.  2,  pp.  135-6.  199  2i6. 

Nicholson,    Enc.    Arch.,    Vol.     2,     pp.  Tuckerma.n,  Hist.  Arch.,  pp.  151-3. 

40-2,  362. 

2.  Style  of  the  Florentine  Renaissance:  Arnolfo 
(i250?-i3io);  Brunelleschi  (i  377-1446);  Leone  Battista 
Alberti  (i 404-1472);  churches  of  San  Lorenzo,  Santa 
Maria  Novello  and  San  Spirito  at  Florence;    church   of 

St.    Andrea,    at    Mantua;    Pitti    palace,    Riccardi    palace, 
Rucellai  palace  and  Strozzi  palace  at  Florence. 


l82 


HISTORY  OF  ARCHITECTURE. 


Fergusson,  Hist.  Arch.,  Vol.  4,  pp.  42- 

55.  93- 'oi. 
LuEBKK,  Hist.  Art,  Vol.  2,  pp.  136-42, 

150;   Mon.   Art,  Vol.   2,   PI.  64,  Text 

pp.  202-4. 
GwiLT,  Enc.  Arch.,  pp.  131-8. 
Nicholson,  Enc.  Arch.,  Vol.  2,  pp.  42-4. 
RosENGARTEN,  Arch.  Styles,  pp.  375-83. 
Symonds,  Renaissance,  pp.   63-7,  72-8. 


Knight,  Pict.  Gal.  Arts,  Vol.  2,  Text  p. 

130. 
KoEHi.ER,  Hist.  Art,  Pis.  98-9, 101-2,105. 
Barry,  Lect.  on  Arch.,  pp.  381-96. 
ScoTi',  Renaissance  in  Italy,  pp.  93-8. 
STEVEN.SON,    House   Arch.,  Vol.    i,  pp. 

217-21. 
Clement,  Hist.  Arch.,  pp.  134-40. 


3.  Style  of  the  Venetian  Renaissance:  San  Micheli 
(1484-1549);  Sansovino  (1479-15 70);  churches  of  Santa 
Maria  della  Salute,  Santa  Maria  Zobenico  and  San  Giorgio 
Maggiore;  Doge's  palace,  Vandramini  palace,  Grimini 
palace  and  library  of  St.  Mark. 


Fergusson,  Hist.  Arch.,  Vol.  4,  pp.  74-5, 

81-6,  101-12. 
LuEBKE,  Hist.  Art,   Vol.   2,   pp.    142-6; 

Mon.  Art,  Vol.  2,  Pis.  64,  71,  Text  pp. 

204,  216-7. 
KoEHLER,  Hist.  Art,  Pis.  97,  loi,  103-4. 
GwiLT,  Enc.  Arch.,  pp.  146-51. 
Nicholson,  Enc.  Arch.,  Vol.  2,  pp.  40, 

46-7. 


RosENGARTEN,  Arch.  Styles,  pp.  383-93. 
SvMONDS,  Renaissance,  pp.  85-6. 
K.night,  Pict.  Gal.  Arts,  Vol.  2,  Text  p. 

135- 
Scott,  Renaissance  in  Italy,  pp.  222-9. 
Stevenson,   House   Arch.,    Vol.    i,  pp. 

225-37- 
Barry,  Lect.  on  Arch.,  pp.  405-13. 


4.  Style  of  the  Roman  Renaissance;  Bramante 
(i450?-i5i4);  M.  Angelo  (147 5- 1564);  St.  Peters;  Bel- 
vedere court  and  court  of  the  Loggie.  Vatican ;  Cancel- 
laria  palace^  Farnese  palace  and  Borghese  palace. 


LuEBKE,  Hist.  Art,  Vol.  2,   pp.  146-57; 

Mon.   Art,    Vol.   2,   Pis.    71,  87,  Text 

pp.  214-5,  252-5. 
Fergisso.n,    Hist.    Arch.,    Vol.    4,    pp. 

51-3.  57-72,83,  112-26. 


Gwilt,  Enc.  Arch  ,  pp.  138-45. 
Nicholson,  Enc.  Arch.,  Vol.  2,  pp.  44  6. 
RosENGARTEN,    Arch.    Styles,    pp.  393- 

415. 
Symonds,  Renaissance,  pp.  81-94. 


HISTORY  OF  ARCHITECTURE. 


183 


Knight,   Pic.   Gal.    Arts,   Vol.  2,  Text 

pp.  131,  134-5,  II.  p.  132. 
KoEHLER,  Hist.  Art,  Pis.  97,  101-2,  104, 

106-7. 
D'AoiNCOURT,    Hist.    Art,    Vol.    i,  Pis. 

57-62. 
Black,  M.  Angelo,  pp.  109-18. 
Perkins,   Raphel  and  Michael  Angelo, 

p.  238-43. 


Wey,  Rome,  pp.  460-555  (Vatican). 
BoHN,    Outlines    of    Michael    Angelo's 

Works,  5  plates. 
Scott,  Renaissance  in  Italy,  pp.  213-22. 
Stevenson,   House   Arch.,   Vol.  i,    pp. 

222-4. 
Barry,    Lect.    on   Arch.,    pp.   397-405, 

414  23. 


5.  Terracotta  architecture  of  northern  Italy,  of  the 
Gothic  and  Renaissance  periods;  church  of  Santa  Maria 
del  Carmine  and  the  Certosa  at  Pavia;  cathedral  of 
Cremona. 


Fergusson,  Hist.  Arch.,  Vol.  4,  pp.  11, 

18-9,  53-4- 
Hake,    It.    Cities,    Vol.    i,   pp.    166-72, 

234-6. 
Rosengarten,  Arch.   Styles,  pp.  375-6. 


Gruner,  Terra-cotta  Arch.,  Pis.  7-11, 
16-24,  29-33,  PP-  1-9.  27-30,  37-9.  41, 
47-52- 

Scott,  Renaissance  in  Italy,  pp.  98-102. 


6.  Style  of  the  French  Renaissance;  Delorme 
(i5i8?-i577);  Perrault  (1613-1688);  Mansard  (1645- 
1708);  St.  Eustache;  Dome  of  the  Invalides;  the 
Louvre;  Luxembourg  palace;  palace  at  Versailles; 
church  of  St.  Genevieve  or  the  Pantheon,  of  Paris; 
chateau  of  Chambord. 


P"ER(;t'ss()N,    Hist.    Arch.,    Vol.    4,     pp. 

279-84,  190-3,  195-200,  207-14,  224-9, 

232  9. 
LiEitKE,  Hist.  Art,  Vol.  2,  pp.  162-8. 
Gwii.T,  Enc.  Arch.,  pp.  152-7. 
Knkjht,  Pict.  Gal.  Arts,  Vol.  2,  text  pp. 

138-9,  II.  p.  141. 


Rosengarten,  Arch.  Styles,  i)p.  415-32. 
K(JEHi.ER,  Hist.  Art,  pl.s    129-31. 
Vioi.i.K-i.K  Die,     Discourses    on     .\rch., 

Vol.  I,  pp.  366-401. 
Stevenson,    House   Arch.,    Vol.    1,  pp. 

238  57- 
Clement,  Hist.  Arch.,  pp.  153-66. 


1 84  HISTORY  OF   ARCHITECTURE. 

7  Style  of  the  Spanish  Renaissance,  cathedral  of 
Granada;  cathedral  of  Valladolid,  cathedral  of  Zarag-oza: 
the  Escorial. 

Fekglsson,    Hist.    Arch.,    Vol.    4,    pp.  Rosengarten,  Arch.  Styles,  p.  433. 

146-64.  Knighi-,  Pict.  Gal.  Arts,  Vol.   2,  text  p. 
LuEBKE,  Hist.  Art,  Vol.  2,  pp.  169-70.  146. 

GwiLT,  Enc.  Arch.,  pp.  160-1.  Clement,  Hist.  Arch.,  pp.,  145-53. 

8.  Style  of  the  English  Renaissance  —  the  Eliza- 
bethan Style;  Inigo  Jones  (i 572-1 652);  Sir  Christopher 
Wren  (i 632-1 723);  St.  Paul's  Church,  Covent  Garden; 
Banqueting  House,  Whitehall;  St.  Paul's  cathedral;  St. 
Stephen's  church,  Walbrook. 

Eastl.\ke,  Hist,  of  the  Gothic  Revival,  Bury,  Arch.  Styles,  pp.  136-63,  185-93. 

pp.  1-6,   16-19  (St.  Paul);  22-7,  31-5,  Winkles,  Eng.  Cath  ,  Vol.  1,  pp.  65-80. 

40-1  (Wren).  Knight,  Pict.  Gal.  Arts,  Vol   2,  text  pp. 

Fergusson,    Hist.    Arch.,    Vol.   4,    pp.  147, 150-1,  154,  II.  pp.  136,  141,  144-5. 

268-72,  284-313.  KoEHLER,  Hist.  Art,  pi.  132. 

Gw  ii.T,  Enc.  Arch  ,  pp.  195-215.  Stevenson,   House    Arch.,   Vol.   i,   pp. 

Nicholson,    Enc.    Arch.,  Vol.    2,    pp.  284-379. 

48-53.  B.\RRY,  Lect.  on  Arch.,  pp.  332-49. 
Rosengarten,  Arch.  Styles,  pp.  433-9- 

9.  Characteristics  of  Architecture  in  Belgium  espec- 
ially in  civil  and  domestic  buildings:  town  halls,  trade- 
halls,  guild  halls  and  belfries ;  elaborate  embellishment 
of  later  churches,  notably  about  the  pulpits.  Select 
examples.  Cloth  Hall  at  Ypres;  the  town-halls  of  Ghent, 
Brussels,  Bruges  and  Louvain,  and  the  belfries  connected 
with  them;  the  churches  of  St.  Jacques,  S.  Andrews  and 
St.  Pauls  at  Antwerp  and  St.  Gudules  (cathedral)  at 
Brussels. 


HISTORY  OF  ARCHITECTURE.  185 

Fergusson,  Hist.  Arch.,  Vol.  2,  pp.  588,  Murray,    Holland    and    Belgium,    pp. 

598,  600-606.  147-8,  163-4. 

Beadkker,  Belgium  and   Holland,  pp.  Stevenson,   House  Arch.,  Vol.   i,  pp. 

XXXVIII,  20,  41,  76  8,  96,  150-3.  258-83. 
Roscoe,    Belgium,    pp.    163-6,    168-70, 

174-5.  177- 

ID.  The  great  perversions  of  the  Renaissance  archi- 
tecture of  the  seventeenth  century;  the  rise  of  the 
Rococco  style  culminating  in  the  "Periwig  and  Pig-tail" 
period;  Lorenzo  Bernini  (i 589-1 680);  Francesco  Bor- 
romini  (1599-1667);  St.  Giovanni  Laterano;  San  Carlino 
alle  Quatro  Fontaine;  Barberini  palace;  colonnade  in 
front  of  S.  Peters  in  Rome;  church  of  St.  Paul  and  St. 
Louis  and  many  other  buildings  in  Paris. 


Fergusson,  Hist.  Arch., Vol.  4,  pp.  72-4,  Gwii.r,  Enc.  Arch  ,  pp.  145-6. 

125-6.  Nicholson,  Enc.  Arch.,  Vol.   2,  p.  47. 

LuKHKK,    Hist.    Art,  Vol.  2,  pp.  159-61,  Rosengarten,  Arch.  Styles,  pp.  440-51. 

168-70.  Koehi.er,  Hist.  Art,  pis.  104,  106. 


II.  Architecture  of  the  present  day;  Opera  House 
at  Paris;  Theatre  and  Museum  at  Berlin;  Glyptothek 
and  Ruhmeshalle  at  Munich;  Houses  of  Parliament  at 
London;  St.  George's  Hall  at  Liverpool;  Capitol  at 
Washington. 

Luebke,    Hist.  Art,  Vol.  2,  pp.  593-601.  Kokhlku,  Hist,  Art,  pi.  142. 

Fergusson,  Hist.  Arch  .Vol.  4   pp.  368  Rosen(;au  ien,  Arch.  .Styles,  ])p.  459-501. 

74,397-400,403-5,500-6,530-1,540-2.  Bi  RY,  Arch.  Styles,  pp.  170-83. 

Knight,  Pict.  Gal.  Arts, Vol.  2,   text  pp,  Ci.kment,  Hist.  Arch.,  pp.  166-83. 

142-3,  158-9,  II.  p.  140. 


APPENDIX.  187 


CATALOGUE 


OF  ALL  THE  WORKS  REFERRED  TO  IN  THESE  LESSONS, 

XiXOBPT  ENCYCLOPEDIAS  AND  ICAaAZINES. 


[new  editions  or  nkw  i'ubi.ishkrs  are  given  within  brackets.] 

Aberdeen,  G.     Earl  of.     Principles  of  beauty   in   Grecian   architecture.     London, 

Lockwood  and  Sons,  1874. 
Agincourt,  Sekoux  I)'.     History  of  art  by  its  monuments.     3  vols,  in  i.     London, 

Quaritch,  1847. 
Albri/.zi,    Countess.     The  works    of  Canova,  in  sculpture   and   modelling.     2  vols. 

Boston   [N.  Y.,   Scribner  &  Welford],  1876. 
Ai.COCK,  Sir  R.     Art  and  art  industries  in  Japan.     London,  Virtue  &  Co.,  1878. 
Arnold,  G.  M.  15.     Gainsborough   and  Constable.     (111.    biographies   of  the    great 

artists.)     London,  Low  &  Co  ,  1881. 
Atkinson,  J.  B.     Art  tour  to  the  northern  capitals  of  Europe.     London,  Macmil- 

lan  &  Co.,  1873. 
Audsley,  W.  J.  and  G.  A     Popular  dictionary  of  architecture  and  the  allied  arts, 

vol.  1-3,  A,  B.     N.  Y.,  Putnam's  Sons,  1881-82. 

Babei.on,    Ernest.      Oriental    antiquities;  tr.    by    B.   T.    A.    Everts.     London,  H. 

Grevel  &  Co.,  1889. 
Baedeker's  Handbooks  for  travellers.     London,    Dulau  &  Co.;  N.  Y.,  Scribner  & 

Sons. 
Barry,  E.  M.     Lectures  on  architecture;  ed.  by  A.  Barry.     London,   Murray,    1881. 
Barry,  J.,  J.  Orii-;  and  H.  Fusei.i.     Lectures  on  painting.     See  Wornum,  R.  N.,  ed. 


i88  APPENDIX. 

Barthelemy,  J.  J.     Travels  of  Anacharsis  the  younger  in  Greece;  transl.  from  the 

French.     7  vols,  and  Atlas.     London,  1794. 
Bartlett,  S.  C.     From  Egypt  to  Palestine.     N.  Y.,  Harper  &  Bros.,  1875. 
Bartlett,  W.  H.     The  Nile  boat,     London,  Virtue  &  Co.,  1851. 
Baxley,  H.   W.     Spain:  art  remains  and  art  realities.     2  vols.     N.  Y.,  Appleton  & 

Co.,  1875. 
Bell,  Sir  C.     Anatomy  and  philosophy  of  expression.     7   ed.     London,   Bell  and 

Sons,  1877. 
Bell,  C.  V.  M.     From  Pharaoh  to  Fellah.     London,  Gardner,  Darton  &  Co.,  1888. 
Bellomo,  G.     La  Palo  d'oro  di  S.  Marco.     Venice,  1847. 
Benjamin,  S.  G.  W.     Art  in  America.     N.  Y.,  Harder  &  Bros.,  1880. 

Contemporary  art  in  Europe.     N.  Y.,  Harper  &  Bros.,  1S77.  <?  •=••'"' 

Bickers  &  Son,  pu6s.     Examples  of  modern  British  art.     London,  1877. 

Black,  C.  C.     Michael  Angelo  Buonarotti;   story  of  his  life  and  labours.     London, 

Macmillan&Co.,  1875. 
Blanc,  C.     Grammar  of  painting  and  engraving;  tr.   by  K.   N.    Doggett.     N.  Y., 

Hurd  &  Houghton,   1875.      [3d  ed.  S.  C.  Griggs  &  Co.,  Chicago,  1879.] 

History  of  the   painters   of  all    nations;  transl.    by  P.    Berlyn,    ed.    by   M.    D. 

Wyatt.     London,  Cassell,  1855. 

BoHN,  H.  G.,pub.     Sixty  outlines  from    the  works   of    Michael  Angelo  Buonarroti. 

London,  [Bell  &  Sons],  1863. 
Brande,  W.  T.,  andG.  W.  Cox.     Dictionary  of  science,   literature,   and  art.     New 

ed.     3  vols.     London,  Longmans  &  Co.   1867. 
Britton,  J.     Architectural  antiquities  of  Great  Britain.     5  vols.     London,  Longmans 

&  Co  ,  1807. 

History   and  antiquities  of  the  cachedral  churches  of  Great  Britain.      5   vols. 

London,  Longmans  &  Co.,  1814-28. 

BroNDSti'D,  P.  O.     The  bronzes  of  Siris  in  the  British  museum.     London,  1836. 

Bric;  ch-Bev,  H.  History  of  Egypt  under  the  Pharaohs.  New  ed.  4  vols.  Lon- 
don, Murray,  1S81. 

Brunn,  H.  v.  Ueber  die  kunstgeschichtliche  Stellung  der  Pergamenischen  Giganto- 
machie.     Berlin,  Grote,  1884. 

BULFINCH,  T.     Age  of  fable,  or  Beauties  of  mythology.     Boston,  Tilton  &  Co.,   1855. 

Burn,  R.  Old  Rome;  a  handbook  to  the  ruins  of  the  city  and  the  Campagna.  Lon- 
don, Bell  &  Sons,  1880. 

Rome  and  the  Campagna.     London^  Bell  &  Sons,  1876. 

Burnet,  J.  Rembrandt  and  his  works;  re-edited  by  H.  Murray.  London,  Virtue 
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APPENDIX.  189 

— —  Composition  in  pictures;  ed.  by  I.  N.  Carter.     N.  Y.,  Putnam's  Sons,  1885. 

BuRTiN,  F.  X.  de.  Knowledge  necessary  to  amateurs  in  painting;  ed.  by  R.  White. 
London,  Longmans,  1845. 

Bury,  T.  T.  Styles  of  architecture  of  various  countries,  London,  Lockwood  &  Co., 
1877. 

Buxton,  H.  J.  Wilmot-.  English  painters.  (HI.  handbooks  of  art  history.)  Lon- 
don, Low  &  Co.,  1883.  .^.Xv...^    ■»'     - 

Carr,  J.  C.     Drawings  by  the  Italian  masters.     London,  Chatto  &  Windus,  1877. 

C^RTWRiGHT,  J.  Mantegna  and  Francia.  (111.  biographies  of  the  great  artists.) 
London,  Low  &  Co,  1881. 

Cassell's  art  treasures  exhibitions,  or  Masterpieces  of  celebrated  painters.  London, 
Cassell&Co.,  [1858I. 

Cathedral  churches  of  England  and  Wales.     London,  Cassell  &  Co.,  1884. 

Cellini,  B.     Memoirs  written  by  himself;  tr.  by  T.  Roscoe.  2  vols.     London,  Bohn, 

[Bell&  Sons],  1845. 
Charmes,  G.    Five  months  in  Cairo  and  lower  Egypt;  transl.   London,  Bentley,  1883. 
Cheney,  Mrs.  E.  D.      Gleanings  in  the  field  of  art.      Boston,  Lee  &  Shepard,  i88i. 
Chesneal",  E.     The  English  school  of  painting.     London,  Casseil  &  Co.,  1885. 
Chester,  H.  M.     Russia,  past  and  present.     London,  S.  P.  C.  K.,  1881. 
Clarke,  J.  F.     Ten  great  religions.     Boston,  Houghton,  Osgood  &  Co.  [Houghton, 

Mifflin  &  Co].,  1870. 
Cleohorn,  G.     History   of  ancient   and   modern  art.     2  ed.     2  vols.     Edinburgh, 

Blackwoods,  1848. 
Clement,    C.     Michelangelo.       (111.    biographies    of    the    great    artists.)      London, 

Low  &  Co.,   18S0.  .  •    " 

Clement,  C.  E.     Outline  history   of    architecture.      N.    Y.,  White,   Stokes  &  Allen, 

1886. 

Outline  history  of  ])ainting.      N.  Y.,  White  Sc  Stokes,    1883. 

and  L.  HiTTToN.  Artists  of  the  19th  century,  and  their  works.  2  vols.  Bos- 
ton, Houghton,  Osgood  &  Co.      [Houghton,  Mifflin  &  C'o.],  1879. 

Clodd,  E.     Childhood  of  religions.     N.  Y.,  Appleton  &  Co.,  1878. 

CoLLiG.NO.N,  M.  Manual  of  Greek  archaeology ;  tr.  by  J.  H.  Wright.  London, 
Cassell  &  Co.,  1886. 

Collins,  W.  L.  Homer:  The  Iliad,  utti/  The  Odyssey.  (.Vncieiit  classics  for  Eng- 
lish readers.)     2  vols.     Thiladclphia,  Lijipincott,  1879. 

Conway,  W.  C.     The  early  Flemisli  artists.     London,  Macmillan  &  Co.,  1887. 


190  APPENDIX. 

Conway,  W,  M.     Artistic   development  of  Reynolds  and  Gainsborough.     London. 

Seeley  &Co.,  1885. 
Cook,  D.     Art  in  England;  notes  and  studies.     London,  Low  &  Co.,  1869. 
COPLESTON,  R.  S.     /Eschylus.       (Ancient    classics    for    English    readers.)     Philadel- 
phia, Lippincott,  1879. 
Cox,  Sir  G.  W.      General  history  of  Greece.      N.  Y.,  Harper  &  Bros,,  1876.  .   /     --  ^  ' 
Crowe,  J.  A..,andG.  B.  Cavalcaselle.     Early  Flemish  painters.     2  ed.     London, 

Murray,  1872. 

Life  and  times  of  Titian.     2  ed.     2  vols.     London,  Murray,  1881. 

Raphael,  his  life  and  works.     2  vols.     London,  Murray,  1885. 

History  of  painting  in  Italy.     3  vols.     London,  Murray,  1866. 

■  —  History  of  painting  in  north  Italy.     2  vols.     London,  Murray,  1871. 

CuNDALL,   J.       Hans    Holbein.      (111.    biographies   of    the    great    artists.)     London, 

Low  &  Co.,  1879. 
CuarNlNGHAM,  A.     British  painters  and  sculptors.  3  vols.     N.  Y.,  Harper  &  Brothers, 

[1848]. 
Curtis,  W.  E.     The  land  of  the  nihilist.     Chicago,  Belford,  Clarke  &  Co.      [1888.] 
CURTIL'S,    E.        History  of  Greece,  tr.  by  N.  ^^  .  Ward.       5  vols.      N.  Y.,  Scribner's, 

Sons,  [1867].    <■  —  i 
D'Anvers,  N.,  pseud,  of  Mrs.  N.  Bell.     Elementary    history    of    art;    architecture, 

sculpture,   painting,   music.     N.  Y.,  Scribner  &   Welford,    1876.     [New  rev.  ed. 

London,  Low  iSL  Co.;  N.  Y.,   Scribner's  Sons,  18S3.]  ' 

Raphael.     (111.  biographies  of  the  great  artists.)     London,  Low  &  Co.,  1880. 

Dennis,  G.     Cities  and  cemeteries  of  Etruria.     2  vols.     London,  Murray,  1883. 
DoBSO.v,  A.     Hogarth.     (111.  biographies  of  the  great  artists.)     London,  Low  &   Co. 

1879. 
DoHME,  R.,  ed.     Early  Teutonic,  Italian  and  French  masters  ;  tr.  by  A.  H.  Keane. 

London,  Chatto  &  Windus,   1880. 
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Kunst  und  Kiinstler  Italiens.     3  vols.     Leipzig,  Seemann,  1878-80. 

Kunst  und  Kiinstler  Spaniens,  Frankreichs  und  Englands.     Leipzig,  Seemann, 

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DoucE,  F.     Holbein's  Dance  of  Death.     (Bohn'slib.)     London,  Bell  &  Sons,  1890. 
Draper,  J.  W.       History  of  the  intellectual  development  of  Europe.       Rev.    ed.       2 
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DUPPA,  R.,  and  A.  C.  Quatremere  de  Quincy.     Life  and  works  of  Michael  Angelo 

and  Raphael.     London,  Bohn,  [Bell  &  Sons],  1856. 
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vols.     Boston,  Estes  &  Lauriat,  1884-87. 
Dyer,  T.  H.     Pompeii ;  its  history,  buildings,  and  antiquities.     New  ed.     London, 

Bell  &  Sons,  1875. 

Eastlake,  C.  L.     History  of  the  Gothic  revival.     London,    Longmans  &  Co.,  1872. 

Eastlake,  Lady.     Five  great  painters.     2  vols.     London,  Longmans  &  Co.,  1883. 

Eaton,  C.  A.     Rome  in  the   19th  century.     5  ed.     2  vols.  (Bohn's  lib.)     London, 

Bell  &  Sons,  i860. 
Ebers,  G.     Egypt,   descriptive,    historical,    and  picturesque;  tr.  by   C.    Bell.   2  vols. 

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Edwards,  A.  B.     A  thousand  miles  up  the  Nile.     London,  Routledge  &  Sons,  1889. 
ElDLlTZ,  L.     Nature  and  function   of  art,    more   especially  of    architecture.     N.  Y. 

Armstrong  &  Son,  1881. 
EscnENiiERG,    J.    J.     Manual   of  classical  literature ;    tr.    by  N.    W.    Fiske.     2  ed. 

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Fairholt,  F.  W.     Dictionary  of  terms  in  art.     London,  Strahan  &  Co.,  [1870]. 

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Up  the  Nile  and  back  again.     London,  Chapman  &  Hall,  1862. 

Fai.KE,  J.  von.     Greece  and  Rome;   tr.  by  \V.  H.  Browne.     N.  Y.,  Holt  &  Co.,  1886. 
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Fitz-Patrick,  T.      An   autumn   cruise   in  the  .Egean.   2d  ed.     London,  Low  &  Co., 

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192  APPENDIX. 

Garbett,  E.  L.    Design  as  deducible  from  nature.    London,  Lockwood  &Co. ,  1874. 

Gell,  Sir  W.,  am/].  P.  Gandy.     Pompeiana.     London,  Chatto  &  Windus,  1875. 

Gessert,  M.  a.  Rudimentary  treatise  on  the  art  of  painting  on  glass,  or  glass 
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Gibbon,  E.  History  of  the  decline  and  fall  of  the  Roman  Empire;  with  notes  of 
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Gladstone,  W.  E.      Homer.     (Literature  primers.)     N.  Y.,  Macmillan  &  Co.,  1878. 

Goodyear,  W.  A.     History  of  art.     N.  Y.,  A.  S.  Barnes  &  Co.,  1888. 

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Grimm,  H.  Life  of  Michael  Angelo;  tr.  by  F.  E.  Bunnfett.  9  ed.  2  vols.  Boston, 
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Grote,  G.     History  of  Greece.     12  vo'.s.     N    Y.,  Harper  &  Bros.,  1861. 

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Guhl,  K,  and  W.  Koner.  Life  of  the  Greeks  and  Romans;  tr.  by  F.  Huefter. 
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GwiLT,  J.  Encyclopaedia  of  architecture;  revised  by  W.  Papworth.  New  ed.  Lon- 
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Etching  and  etchers.     Boston,  Roberts  Bros. ,  1876. 

Life  of  J.  M.  W,  Turner.     Boston,  Roberts  Bros.,  1879.  ^     ' 

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Hamilton,  G.     Schola  italica  picturae.     Rome,  1773. 
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Sicily:  Diys  near  Rome;  Walks  in  London;  and  Walks  in  Rome.   7  vols.      N.  Y. 

Roulledge  &  Sons,  1875-83. 
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Co.,  1857. 
Harrison,  J.  E.     Introductory  studies  in  Greek  art.      London,  T.  F.  Unwin,  1885. 
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Hazlitt,  W.     Essays  on  the  fine  arts;  new  ed,   by  W.  C.  Hazlitt.     London,  Reeves 

&  Turner,  1873. 
Head,  P.  R.     Van  Dyck.     (III.    biographies   of  the   great    artists.)     London,  Low  & 

('o.,   1879. 
Heath,  R.  F.      Albrecht  Diirer.     (111.   biographies  of  the  great  artists.)     London. 

Low  &  Co.,  18S1. 

Titian.     (111.  biographies  of  the  great  artists.)     London,  Low  &  Co.,  1880. 

Heato^,  Mrs.  C.     Concise  history  of  painting.     London,    Macmillan   &   Co. ,  1872. 

[Newed.,  revised  by  W.  C.  Monkhouse.     London,  Bell  &  Sons,  1888.] 

Life  of  Diirer,  with   transl.  of  his  letters   and  journal.   2   ed.      London,  Seeley 

&  Co.,  1881. 

Masterpieces  of  Flemish  art.      London,  Bell  &  Daldy  [Bell  &  Sons],  1869. 

Hkaton,  M.  C.     Correggio.     (111.  biographies  of  the  great  artists.)     London,  Low 

&Co.,  1882. 

Homkr's  Iliad  and  Odyssey;  translations  by  W.  C.  Bryant.  4  vols.  Boston,  Hough- 
ton, Mifflin  &  Co. 

translated  by  A.  Pope.     London,  Bohn's  Lib,,  Bell  &  Sons. 

HoRNKK,  S.  and  J.     Walks  in  Florence.     2  vols      London,  Strahan  &  Co.,  1873. 

Hokton,  C.  \V.  Architecture  for  general  students.  N.  Y.,  Ilurd  &  Houghton 
[Boston,  Houghton,  Mifflin  &  Co.],  1874. 

How.vKi),  F.     Colour,  as  a  means  of  art  for  amateurs.     London,  H.  Bohn,  1838. 

Hi:.NT,  H.,  after'Loards  Mrs.  Jackson.     Bits  of  travel.       Boston,  Roberts  Bros.,  1872. 

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Stirling,  W.     Velasquez  and  his  works.     Oxford,  Parker  &  Son,   1855. 

Stothert,  J.     French  and  Spanish  painters.     Philadelphia,  Coates  &  Co.,  1877. 

Stowe,  E.  Velazquez.  (111.  biographies  of  the  great  artists.)  London,  Low  &  Co., 
1881. 

Stranahan,  C.  H.     History  of  French  painting.     N.  Y.,  Scribner's  Sons,  18S8. 

Street,  G.  E.     Brick  and  marble  in  the  middle  ages.  2  ed.     London,  Murray,  1874. 


APPENDIX.  20I 

Stuart,  J. ,  aW  N.  Revett.     Antiquities  of  Athens.     3  ed.    London,  (Bohn's  lib.). 

Bell  &  Sons,  1876. 
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Sketches  and  studies  in  southern  Europe.  2  vols.     N.  Y.,  Harper  &  Bros.,  1882, 

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J.  G.  Unnevehr,  1869. 
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1876. 
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Handbook  of  pictorial  art.     Oxford,  Clarendon  Press,  1875. 

Tytler,  S.,  pseud  of  W.  Keddik.     Modern   painters   and   their  paintings.     Boston, 

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The  Old  masters  and  their  pictures.     Boston,  Roberts  Bros.,  1874. 

Van  Dyke,  J.  C.     How  to  judge  of  a  picture.     N.  Y.,  Chautauqua  Press,  [Phillips  & 
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Principles  of  art.     N.  V.,   Fords,  Howard  &  liulbert,  1887. 

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202  APPENDIX. 

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1876. 
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paintings.     2  ed.     2  vols.     Oxford,  Parker,  1867. 
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,    a«</K.  WoERMANN.      History  of  painting  ;  ed.  by  S.  Colvin  and  C.  Bell.      2  vols. 

N.  Y.,  Dodd,  Mead  &  Co.,  1880-85. 
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Sons],  1884. 


APPENDIX.  203 

Wright,  T.     History  of  caricature  and  grotesque.    London,  Chatto  &  Windus,  1875. 
Yriarte,  C.  E.     Florence  ;  tr.  by  C.  B.  Pitman.     London,  Low  &  Co.,  1882.    ^  ^   -  ^1 

Venice  ;  tr.  by  F.  J.  Sitwell.     London,  Low&  Co.,  1880.    l 

Zerffi,    G.    G.      Historical  development  of  art.      London,  Hardwicke  &   Boyne 

[W.  H.  Allen  &  Co.],  1876. 
ZiNCKE,  F.  B.     Egypt  of  the  Pharaohs  and  of  the  Kedivd,     London,  Smith  &  Elde;', 

1878. 

SUPPLEMENTARY. 

Brownell,  W.  C.     French  art,  classic  and  contemporary  painting  and  sculpture. 

N.  Y. ,  Scribner's  Sous,  1892,    •-•    .  -^  ' " 

French  traits,  an  essay  in  comparative  criticism.     N,  Y.,  Scribner's  Sons,  1893. . 

Cook,  Theodore  Andrea.     Old  Touraine,  the  life  and  history  of  the  famous  chateaux 

of  France.     N.  Y.,  Scribner's  Sons,  1892.       •     ,  /  .  T'^ 
Child,  Theodore.     Art  and  criticism.     No.  Y.,  Harper  &  Bros.,  1892. 
Perkins,  Chas   C,  ow^/Champlin,  John  D.     Cyclopedia  of  painters  and  paintings; 

4  vols.     N.  Y.,  Scribner's  Sons,  1892.  i-'-,  -'.  '  ' 
Symonds,   J.    A.      Life   of  Michelangelo   Buonarroti ;   2   vols.      London,   John   C. 

Nimmo,  1892.  -  -'^ 

Stirling  Maxwell,  W.     Annals  of  the  Artists  of  Spain  ;  (new  ed.    1891.)  4  vols. 

London,  J.  C.  Nimmo.  > 

Michel,   E.mile,  Rembrandt,  his  life,  work  and  time  ;  Eng.  ed.  by  F.  Wedmore. 

London,  Wm.  Heinemann,  1894.      0    -        .     v' 
Schuyler,  Montgomery.     American  Architecture;  N.  Y.,  Harper  &  Bros.,  1892. 
Moore,    C.     H.      Development    and    character   of    gothic   architecture ;    London, 

Macmillan  &  Co.,  189O. 


INDEX  OF  ARTISTS 


AND  SUBJECTS  OF  GENERAL  INTEREST  IN  THESE  LESSONS. 


Act.    olis  of  Athens 18 

AgCiadas  of  Argos 9 

Agoracritos  of  Furos 16 

Albeni,  Leon  Buliista,  67,  181 

Alcamenes  of  Athens 16 

Alma-Tadema 140 

Amadeo,  Antonio 45 

Amphitheatres,  Roman....  164 

Andrea 'del  Sarto' 72 

'Angelico,  Fra' 64 

Angelo,  Michaei,  as  pain- 
ter     75 

Angelo,  Michael,  as  sculp- 
tor     46 

Anglo-Norman  architec- 
ture   171 

Apelles 56 

ApoUodoros 56 

Archerraos  of  Chios 7 

Aristeas  of  Aphrodisias  ...    80 

ArnolfodiCambio 181 

Art  criticism 63 

Asiatic  architecture 152 

Assyrian  architecture 158 

Babylonian  architecture...  158 

Babylonian  painting 54 

Balduccio  dl  Pisa 87 

'Bartolonimeo,  Fra' 71 

Basilicas,       Pagan      and 

christian 166 

Belgian  architecture 184 

Belgian  painting  see  Flan- 
ders, also  French  pain- 
ting. 

Bellini,  Giovanni 69 

Benedetto  da  Majarno 48 

Bernini,  Lorenzo 50,  185 

Bolognese  painting 91 

Borromini,  Francesco 185 

Botticelli,  Sandro 67 

Boucher,  Frangois 128 

Boughton,  George  H 141 

Bramante,  Donato  L 182 

Brancacci  chapel 65 

Bronze  relief  sculptnres..89,  64 

Brunelleschi,  Filippo 181 

Buddhist  architecture 154 

Bularchos 56 

Uurne-Jones,  £ 141 


Byzantine  architecture....  167 
Byzantine  art 84,  59 

Calamis  of  Athens 10 

Gallon  of  ^Iflgina 9 

Campanile,  Giotto's 41,  61 

Canachos  of  Kikyon 9 

Canova,  Antonio 51 

'Caravaggio' 94 

Caracci,  Annibale 92 

"         Ludovico 91 

Caricature  in  art 141 

Carlo  Dolce 93 

Catacombs,  Paintings  in...    58 

Cellini,  Benvennto 48 

Cephisodotus  of  Athens...    19 
Certosa,  Monastery  of,  at 

Pavia 44 

Christ  in  art,  Representa- 
tions of 60 

Christian  painting.  Early    58 

Christian  sculpture '..    88 

Chromatic    sculpture    in 

Greece 2,  57 

Church  architecture 167 

Cimabue,  Giovanu-i 61 

Civltali,  Matteo 44 

Classic  painting  in  France  128 

Claude  Lorrain 120 

Colotes  of  Paros 16 

Con.stable,  John 135 

Copley,  John  S 182 

Corinthian  style 160 

Cornelius,  Peter 112 

Corot,  Jean  B.  C 127 

•Correggio' 83 

Cox,  David 140 

('ranach,  Lucas 109 

Criticism  of  paintings 53 

Critios  of  Athens 9 

Croley,  N.  J 141 

Cuyp,  Albert 106 

Cyclopean  architecture 156 

Daidalos,  or  Daedalus 6 

David,  Jacques  L 128 

Decamps,  Alex.  G 127 

Delacroix,  Eugene 125 

Delaroche,  Paul 126 

Delorrae,  Philibert 188 


Dibutades  of  Sikyon 7 

Dipoiuos  of  Crete 7 

Dolce,  Carlo 93 

'  Donatello' 40 

'  Domenichino' 92 

Doric  style 157 

Dow,  Gerard 105 

Drama,  Greek 161 

Dravldian  architecture 155 

Duccio  of  Siena 61 

Diirer,  Albert 1(8 

Dutch  painting 103 

Eclectic  school  of  paint- 
ing     91 

Egyptian  architecture 148 

Egyptian  painting 53 

Egyptian  sculpture 2 

Elgin  marbles 15 

English  painting 128 

English      renaissance 

architecture 184 

Etruscan  painting 162 

Etruscan  sculpture 29 

Etruscan  vase  painting....    66 
Etty,  William 187 

Faed,  Thomas 141 

Fiesole,  Giovanni  da 64 

Flanders,  Painting  in 95 

Flaxman,  John 61 

Florentine       renaissance 

architecture 181 

Florentine       school      of 

painting 60,    67 

Florentine  school  of  sculp- 
ture     89 

Forum  at  Rome. 164 

French  painting 118 

French  renaissHuce  archi- 
tecture   183 

Funeral  chapels 167 

Gaddi,  Taddeo 63 

Gainsborough,  Thomas. ...  181 

Gericault,  J.  L  T.  A 126 

German  painting.  Early...  107 
German  painting.  Revival 

of 112 

Ghiberti,  Lorenzo 89,  64 

204 


INDEX  UF  ARTISTS. 


205 


GhirlaQdajo,  Domenico....    70 

'  Giorgioue' 86 

Giotto  di  Bondone 61 

Giunla  of  Pisa 61 

Giovanni  of  Bologna 4a 

Glass  painting 118,  176 

(ilaucos  of  Chios 7 

Gothic  architecture 175 

Gothic  revival    in    Eng- 
land   180 

Gozzoli,  Benozzo 66 

Grseco-Rorauu  sculpture...    29 

Greek  architecture 106 

Greek  painting ;')5 

Greek  sculpture 5 

Greenway,  Kate HI 

Greuze,  Jean  Baptiste 123 

Gros,  Antoiue  J iJl 

•Gucrcino' 93 

Guido  Reni, 92 

Guido  of  Siena 61 

Guilds,  Influence  on  art... 
y.\  177 

Halicarna.ssus,    Mausole- 
um at 20 

Huydon,  B.  K 136 

llerrcra,  Francisco  de 114 

HoKiirth,  William 129 

Holbein,  Hans UO,  128 

Hunt,  Holman 140 

Illuminations   of   manu- 
scripts, Karly 59 

Images   and    pictures   in 

church  worship .59 

Indian  architecture 153 

Ingres,  Jean  A.  I> 124 

Ionic  .style 159 

Italian  architecture....  179,  181 

Italian  painting 60 

Italian  sculpture So 

Japanese  painting 54 

Jones,  E.  Ijurne- 141 

Jones,  Inigo 184 

Julius  II,  Monument  of....    47 

Kaulbach,  Wilhelm  v 113 

Kephisodotos  (tf  Aihens 19 

Kneller,  Godfrey 128 

Landscape  painting.  Mod- 
ern French 127 

Landsecr,  Edwin  H 138 

'Last  Supper'  in  i>alnting    74 

Lawrence,  Thomas 133 

Lebrun,  (,'harles 121 

Leech,  John  141 

Leighton,  Frederick 140 

I^ly,  Sir  Peter 1'28 

Leochares  of  Ahens 20 

Leonardo  da  Vinci 7:! 

Leslie,  Charles  K 137 

IvCsneur,  Eustache 121 

Lippl.  Fllippino (",9 

Filippo CO 


Lorrain,  Claude 120 

Lysicrates,  Jlonument  of..    22 
Lysippos  of  Sikyon. 23 

Macbeth,  R.  W 140 

Maclise,  Daniel 137 

Aladonnas  and  Holy  Fam- 
ilies     80 

Majano,  Uenedetto  da 48 

Mansard,  Francois 188 

"  Jules  H 183 

Mantegna,  Andrea 08 

Martini,  bimone 03 

'Masaccio' 65 

Mat.sys,  Quentin t>7 

Mcdicean  influence  ou  art    67 

Melas  of  Chios 7 

Memling,  Hans 96 

Michael  Angelo  as  p;.in'.er    75 
"  "     as  sculptor    46 

Millais,  J.  E 140,  141 

Millet,  Jean  Francois 128 

Mino  da  Fiesole 42 

Mohammedan     architec- 
ture   172 

Monument  sculptures  at 

Rome 32 

Morales,  Louis  de 114 

Mosaics  at  Ravenna 59 

Mosaics,  Ancient  Roman..    57 

Mosaics,  Byzantine 59 

Mosques 173 

Mulrcadv,  Wm l^C,  141 

Murillo,  Hartolome  E 116 

Myron  of  Bceotia 11 

Ncsiotes  of  Atliens 9 

Netherlands,  painting  in 

the 108 

Nicol,  Erskine 141 

Norman  style  of  architec- 
ture  .' 171 

Onatnsof  .T^gina 9 

Oniodco,  see  Amadeo 45 

O'Neil,  H 141 

Or  .San  Michcle,  Florence.    87 

Orcagnii,  Andrea .37,  63 

Oriental  painling 54 

Oriental       palming       in 

France 127 

Orvlctocathcilral  38 

Ostade,  Adrhiii  van 105 

Overbeck,  Friedrich 112 

Padua,  Pa  nting  In 67 

Painling,  N'arietlesof 66 

Paionlos  of  Mende 17 

'Palnia'  A'ecchlo 86 

I'apias  of  Aphrodislas 80 

I'arrhaslos .% 

I'urllicnon  of  Athens 15,  l.'iH 

I'lisiteles,  a  (Jrcck  at  Rome    31 

I'clasgic  architecture 156 

I'crgMmon  24 

I'errault,  Claude.... 1H3 

I'ersian  architecture 153 


Perugino,  Pietro  V 70 

Pheidius   or    Phidias    of 

Athens 14 

Phigaleiiiii  marbles 18 

Pietro  dellaFraucesca 66 

Pisan  revival  of  sculpture    35 
Plsan  school  <)f  painting..    60 

Pisano,  Andrea 87 

"        Giovanni 86 

'         Niccola 85,  61 

"         Nino 87 

PoUajuolo,  Antonio  42 

Polycleitos  of  Argos 19 

Polychromy 2,  57 

Polygnotos 56 

Pompeii,  Art  in 67 

Portrait  painting  as  tine 

art 88, 104, 1U8,  111 

Portraic  sculpture,Uoman    31 

Potter.  Pi.ul 106 

Poussin,  Nicolas 118 

Praxi;eles  of  Athens 21 

Pre-Raphaelite   Brother- 
hood    140 

Protogenes .56 

Pyramids 149 

Prnd'hon,  Pier'-o  1'.  ul 124 

Pythagoras  of  Rhegion....     10 

Querela,  Jacopo  della .38 

Raphael  Sanzio 78 

Rembrandt  van  Ryn 103 

Renuissance  architecture,  181 

"  pain.lng 00 

"  sculpture 45 

Reni,  (iuido 92 

Reynolds,  Sir  Joshua 130 

Rhoicos  of  Samos 7 

Ribera,  Josef  de 114 

Robbla,  Luca  della 41 

Robert,  Li.uls  L 127 

Rococco  stvle  of  urchitec- 

lure 185 

Roman  architecture.  An- 
cient   162 

Ruman     conliscatiou     of 

<;rcck  artworks 80 

Roman  engineering 163 

Roman  i)ainting 67 

Roman  renaissance  archi- 
tecture   182 

Roman  sculpture 29 

Itomanesque  architecture  167 
Roinatitic      painting     in 

France 125 

Rosa,  Salvator 94 

Rossollino,  Antonio 48 

"  Bernardo 48 

Rousseau,  Pierre  E.  T 128 

Rowlandson,  Thomas 141 

Rubcn.s,  Pelcr  I'aul 98,  128 

Rtisklu,  John 139 

Ruskln's  "Modern  Paint- 
ers"   139 

Rtissiaii  nrcliitccturc lOS 

Rt;ysd;iol,  .Incob ](X> 


2o6  INDEX  OF  ARTISTS. 

St.    Francis'    church    at  Van  der  Weyden,  R 96 

Asslsi 61    Tafl,  Andrea 61  Van  Eyck,  Hubert  &  John    95 

St.  Peter's  church  at  Rome  182    Tatti.Jacopo 46  Van  Dyke,  Anthony.. ..100,  128 

Sansovino,  Andrea 45    Temples,  Greek 8,156    Van  Ostade,  A 105 

"           Jacono- 46,182  Temples,    Indian   rock-  Vase  painting  in  Greece....    66 

Saracenic  architecture 172       hewn 153    Veliisquez,  Diego 115 

Sarto,  Andrea  del 72    Temples,  Roman 165    Venetian  painting 86 

Scheffer,  Ary 126    Teniel,  John 141  Venetian  renaissance  ar- 

Schon,  Martin 107    Tenlers,  David 101       chitecture 182 

Scopasof  Paros 20  Terracotta  architecture...  183    Vernet,  Claude  J 122 

Setiignano,  Desiderio  da..    44    Theatre  in  Greece 161  "       Horace 125 

Sienese  school  of  paint-  Theodores  of  Samos 7    Verocchio,  Andrea  del 42 

ing 60    Thorwaldsen,  Bertel 51    'Veronese',  Paolo 89 

Sienese  school  of  sculp-  Thrasymedes  of  Paros 16    Vinci,  Leonardo  da 78 

ture 88    'Tintoretto', 88 

Signorelli,  Luca 68    Titian 86    Watteau,  Antoine 122 

Sistine  chapel  frescoes 76  TombmonumenisofXVth          West,  Benjamin 182 

"       tapestries...    82       centurv 48    Wilkie,  Sir  David 185,141 

Skyllis  of  Crete 7  Triumphal    arches,    Ro-           Wilson,  Richard 180 

•Spagnoletto,  XL' 114       man 164    Winckelmann,  J 50 

Spanish  painting 114    Troyon,  Constant 127    Wohlgemuth,  Michael 107 

Spanish  re  n  aissa  n  ce  Turner,  J.  M.  W 133    Wouvermans,  Philip 106 

architecture 184  Wren,  Sir  Christopher 184 

Sphinx,  The 150    Uccello,  Paolo 66 

Stanze  frescoes  in  the  Vat-  Umbrian  school  of  paint-          Zeuxis 56 

ican 80       ing 67    Zurbaran,  Francisco 114 

Style  in  architecture 161 


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